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OFFICIAL SOUVENIR

Eighth Annual Convention

OF THE

United Typothetae of America

Philadelphia, September 18 to 21, 1894

aaepiia

epfenpber9 1824

/

OFFICIAL SOUVENIR

Eighth Annual Convention

OF THE

United Typothete of America

Philadelphia, September 18 to 21, 1894

£**

1394
"Of w

PUBLISHED UNDER THE AUSPICES OF THE
PHILADELPHIA TYPOTHET/E

...BY...

WILLIAM M. PATTON

Type tsz Printing Material

(3^13(3^3(3^3(3^3

^Hmerkami

Complete Printing

. . OFFICE . .
Outfits Furnished

IMfef

Manufacturing poundries

MACKELLAR, SMITHS & JORDAN FOUNDRY, Philadelphia, Pa.
MARDER LUSE & CO. FOUNDRY, Chicago, 111.

DICKINSON TYPE FOUNDRY, Boston, Mass.
BOSTON TYPE FOUNDRY, Boston. Mass.
AMERICAN TYPE FOUNDERS' CO., Successor to JAS. CONNER'S
SONS, New York City
CENTRAL TYPE FOUNDRY, St. Louis, Mo.

ALLISON & SMITH FOUNDRY, Cincinnati, Ohio
CINCINNATI TYPE FOUNDRY, Cincinnati, Ohio
CLEVELAND TYPE FOUNDRY, Cleveland, Ohio
BENTON-WALDO TYPE FOUNDRY, Milwaukee, Wis.

PALMER & REY TYPE FOUNDRY, San Francisco, Cal.
JOHN RYAN TYPE FOUNDRY, Baltimore, Md.

ST. LOUIS TYPE FOUNDRY, St. Louis, Mo.

Branches

MAI KKI.LAR, SMITHS & JORDAN FOUNDRY, Pittsburg, Pa.
MACKKLLAR SMITHS & JORDAN FOUNDRY, Buffalo, N. Y.
MACKELLAR. SMITHS & JORDAN FOUNDRY, Chicago. 111.
MARDER LUSE & CO. FOUNDRY, Minneapolis and St. Paul.

Minnesota
MARDER M)RY. Kansas El

MARDER. LUSE & CO. FOUNDRY, Omaha, Keb.
TH1 DKNVKR TYPE FOUNDRY CO., Denver, Colo.
PALMER & REY TYPE FOUNDRY, Portland. Ore.

-I

Originators of Beautiful Book,
. . News and Jobbing Faces . .

ore §ttnttdhi®in
(Cabinets

Stands

©So Framm©:

Manufacturers of HERCULES

. . Gas and Gasoline Engines . .

0

Presses and Machinery

o

o

o o

O

rae

A Copy of the Elegant Specimen Book of this Foundry
. . Mailed Free to every Printing Office . .

rngnimafl J^Mbnimgj Desngp:

Accuracy and Durability
Guaranteed

MacKellar,

Smiths St Jordan

Foundry

Nos. 606-614 Sansom Street
Phi la delph ia

BaDdDk S ffewsipaipef Psks©:

Sold by all Foundries and Branches of the
. . American Ty^pe Founders' Company . .

mmpV°lMimtmm

Mittineague Paper Co.

Mittineague, Mass.

Our Alexis Ledger is giving
universal satisfaction.

Also our Alexis and Mitti-
neague Bonds are well
known by the trade.

m

Our Lakewood Extra Super-
fine, for color, strength
and thickness, is equal
to the best.

m

We do not aim for large pro-
ducts, but to stand on
the top for quality.

MANUFACTURERS OF THE

HIGHEST GRADES

. . OF . .

Linens-

Ledgers

AND

Bonds-

•&

Samples cheerfully furnished on
. . . application , . .

Will You Do It?

You remember the defendant's reply in the famous Kettle Case :

(i ) Kettle was cracked when he borrowed it.

(2) Whole when he returned it.

(3) Never had the kettle anyway.

Compare this with the defendant's reply in the Printing-press Case :

( 1 ) Press is doing splendid work now.

(2) Haven't got any work for the press anyway.

( 3 ) Don't like your press ; don't know anything about it.

Now, no printer can be progressive with his eyes shut ; no man can make a
success who plays tennis with his words.

Whether you buy a Cottrell press or not, is not now the question. The vital
necessity is that you should grasp the present situation, realize what you need
in these times of depression, and put your office on a proper war footing.

To help you to do this let us see if it be possible to crystallize the whole situation
in a single paragraph. Here is the result of half a century of the printing business :

Prices are ordinarily adjusted to the point where a printer with a poorly-equipped
plant can make a living. But in times of depression prices contract in proportion to
the scarcity of trade. This contraction quickly exceeds the margin of profit in a
poorly-equipped plant, and the man must pass many orders or lose money heavily.
The well-equipped plant, however, while reducing its profits, can weather the storm
easily by its ability to drop prices. This very ability will keep the office full of work.
Ik- can lake a small profit on each job, and depend upon the quantity of his profits
to make a good total. Thus it is a well-attested fact that in times of depression the
man who is farthest abreast of the times suffers least.

The moral is plain. Resolve to-day to put your office on a war basis. Resolve
that you will reduce your operating expenses by greater production at no greater
cost. Resolve to own a high-speed Cottrell.

And remember that a resolution, like a tainting lady, should always be carried out.

C. B. Cottrell & Sons Co.

8 Spruce Street, New York.

Chic igo « >i fi< i. : 297 1 Jearboni St.

.. ,, •,, .. Works: Westerly, R. I.

Boston Office : 171 1 "rtlnil Square.

The beading Printing Inl< Manufacturers

IN THE UNITED STATES ARE

The FRED'K h. bEVEy CO.

59 FJeel^man Street, New Vorl<.

Fred'k H. Levey
President.

Chas. E.Newton,
Vice-President.

We beg to call the attention of all Printers and Publishers in the country to the following
letters from some of our leading customers, which have been kindly tendered us.

Office of THE PUBLIC PRINTER,

Washington, D. C, June 20, 1894.
Frederick H. Levey Co., Mfrs., etc., New York City.

Gentlemen: — In response to your request of 19th inst.,
I cheerfully state that in 18S6, a somewhat exhaustive
test was made of book and job inks in this office, under
my direction. Following such test, the inks furnished
by you were selected in part for office use, both for rea-
sons of color, economy in use, and cost.

These inks gave such great satisfaction, especially in
fine bookwork, engraving and half-tone printing, that I
have this year, upon taking charge of this office again as
Public Printer, directed the use of your inks without
any request on }7our part. Very truly yours,

Thos. E. Benedict, Public Printer.

THEO. L. DeVINNE & CO., PRINTERS.
The DeVinne Press,
12 Lafayette Place, New York.

New York, June 12, 1894.
Fred'k H. Levey Co., New York.

Dear Sirs: — We have been using your inks for some
years past and can testify to their general excellence,
more especially for their use on coated paper. We find
them very uniform, and with your nice graduations of
body we can suit ourselves for almost any condition of
paper. They are certainly very superior in quality, and
we are highly satisfied with the results obtained from
their use. Yours very truly,

Theo. L- DeVinne & Co.

TROW DIRECTORY, PRINTING AND BOOKBIND-
ING COMPANY.
PRINTING AND BOOKBINDING DEPARTMENT,

201-213 East Twelfth Street, New York.

June 19, 1894.
Messrs. Fred'k H. Levey Co., 59 Beekman St., N. Y.

Gentlemen: — We take pleasure in stating that we
have used your inks on various publications for several
years, and their adaptability to all grades of printing
has given us the best satisfaction. Your ability to fur-
nish satisfactory material for all requirements— depend-
ing upon such conditions as changes in the atmosphere
and various kinds of paper — has been thoroughly de-
monstrated. You are particular^ successful with the
grades for half-tone work on coated paper. Its uni-
formity in quality, depth of color, and fine working
qualities, have given very gratifying results.
Yours truly,
Trow Directory, Printing and Bookbinding Co.
Per R. W. Smith Prest.

D. APPLETON & CO.,

72 Fifth Ave.

June 26, 1894.
Messrs. Frederick H. Levey Co.

Dear Sirs: — We take pleasure in saying that we
have used }Tour ink for a number of years, and we have
found it uniform and satisfactory. Yours truly,

D. APPLETON & CO.

THE COSMOPOLITAN MAGAZINE-
EDITORIAL DEPARTMENT.

My Dear Mr. Levey: June 20' l894-

^ j I have to thank you for the high standard and uni-
form excellence of the " Coated," " Text " and colored
inks furnished by you to the Cosmopolitan during the
past year.

Believe me very appreciatively and sincerely yours,
John Brisben Walker.
Mr. Fred'k H. Levey, President, etc.

THE LADIES' HOME JOURNAL-
Curtis Publishing Co.
business department.

Philadelphia, June 19, 1894.
The Fred'k H. Levey Co., 59 Beekman St., New York.
Gentlemen: — Since we began using our own mechani-
cal plant, February, 1891, we have bought our Ladies'
Home Journal ink, and much of that for the varying cov-
ers of the magazine, from you. Based on the experience
of more than three years prior to April 2, 1894, we made
a year's contract with you from that date. We have not
regretted, nor do we expect to repent, having made such
a contract. Very truly yours,

The Curtis Publishing Co.,

A. H. Siegfried, Business Manager.

PUCK.

New York, June 19, 1894.
The Fred'k H. Levey Co., New York City.

Gentlemen: — It gives us great pleasure to state that
your black and colored inks which we have used on
Puck, and on our other publications for the past year,
have given great satisfaction.

Their uniform and excellent quality has proved a
great factor in turning out satisfactory work.

We are, very truly yours,

KEPPLER & SCHWARZMANN, INC.,

H. Wimmel, Secretary.

Office of the NEW YORK LEDGER.
Cor. Spruce and William Sts.
P. O. Box 3263. New York, June 8, 1894.

Fred'k H. Levey Co., 59 Beekman St., City.

Gentlemen:— Vox the past four or five years we have
used your inks almost exclusively on the New York
Ledger and our library periodicals. We are pleased to
say that the inks which you have furnished us have
given excellent satisfaction, and your prices have al-
ways been low for quality. Yours very truly,

Robert Bonner's Sons.

AMERICAN LITHOGRAPHIC COMPANY,
203 Broadway, New York.

New York, June 21, 1894.
Messrs. F. H. Levey Co., 59 Beekman St., City.

Gentlemen:— We take pleasure in stating that we

have found vour letter-press inks absolutely uniform in

quality and the best in the market for the price.

Very truly yours,

American Lithographic Company,

Per G. W. Donaldson, 2d Vice-Pres. and Pur. Agt.

Office of the NEW YORK BANK NOTE CO.,
75 Sixth Avenue, New York.

June 25, 1894.
Fred'k H. Levey Co., 59 Beekman St., New York.

Gentlemen:— The fact that, during the past five years,
we have printed over 1,500,000,000 strip tickets, using
your inks only, sufficiently attests our preference for
them. Yours very truly,

George H. Kendall, President.

19 and 2]

LIFE,

West Thirty-first Street.

New York, June 26, 1894.
Messrs. Fred'k H. Levey Co., 59 Beekman St., N. Y.

Gentlemen: —SSI & take great pleasure in stating to
you that much of the reputation that Life has for fine
printing, and particularly for its half-tone effects, is
owing to the use of your blue-black ink.

Very truly yours,
Life Publishing Company.
Andrew Miller.

The "MONOGRAPH"

A PERFECT INKING POLLER

FOR

HALF-TONE WORK

OUR SPECIAL BRAND

A\At)E EXPRESSLY FOR HALF-TONE PRINTING ON

COATED PAPER.

A Sample Order will Demonstrate the Superiority of the "Monogram.'

OUR REGULAR BRANDS:

EXCELSIOR PATENT AND O. K. IMPROVED OLD STYLE.

Joseph B. Daley & Co.

Rollers cast and Returned. 31 Rose Street, New y orl<.

Composition in 5 pound cakes shipped in bulk to order.

6

'Webster's International

A Grand Family Educator
A Library in Itself

Dictionary

A College President writes: "For ease with
which the eye finds the word sought, for accuracy
of definition, for effective methods in indicating:
pronunciation, for terse yet comprehensive state-
ments of facts, and for practical use as a working
dictionary, * Webster's International ' excels any
other single volume."

Iftfg^The diacritical marks for indicating the sounds of letters are so plain and intelligible
as to be easily understood by old and young. Nearly all schoolbooks use them.

"It is Tlie One Great Standard Authority

the perfection of dictionaries;" so writes Justice Brewer of the
United States Supreme Court, who voices the general sentiment.

Send for free pamphlet containing specimen pages, illustrations, etc. / "WEBSTER'S

G. & C. IHerriam Co., Publishers, I INTERNATIONAL

Springfield, Mass., U. S. A. V DICTIONARY

ftgF' I>° not UUT cheap photographic reprints of old Webster dictionaries.

Emmerich & Vonderlehr

191 and 193 Worth St.
New York

. . . MANUFACTURERS OF

Bronzing

Machines

Sizes ranging from 6 inches to 60 inches.
QAA Machines in Use.

United Typothetae of America

OFFICERS FOR l89?-'94

PRESIDENT
JOHN R. MeFETRIDGE, Philadelphia, Pa.

SECRETARY TREASURER

EVERETT WADDEY, Richmond, Va. CHARLES BUSS, Cincinnati, 0.

VICE-PRESIDENTS

R. R. DONNELLEY, First Vice-President J. H. BRUCE, Fourth Vice-President

Chicago, 111. Nashville, Tenn.

GEO. H. ELLIS, Second Vice-President P. H. TIERNAN, Fifth Vice-President
Boston, Mass. Kansas City, Mo.

E. PARKE COBY, Third Vice-President JAMES MURRAY, Sixth Vice-President
New York Toronto, Out.

EXECUTIVE COMMITTEE
JOSEPH J. LITTLE, New York, Chairman
W. A. SHEPARD, Toronto, Out. THOMAS TODD, Boston, Mass.

GEO. M. COURTS, Galveston, Tex. \\\ i,. BECKER, St. Louis, Mo.

C. II. BI/AKELY, Chicago, 111. II. P. PEARS, Pittsburg, Pa.

8

OFFICIAL SOUVENIR
EIGHTH ANNUAL CONVENTION

UNITED TYPOTHETtE OF AMERICA

CONTENTS

History of the United Typothet^e W. W. Pasko ... 1 1

Past Presidents of the United Typothet^e of America 16

The Executive of the United Typothet^e of America ... 20

Officers and Committees of Typothet^e of Phila-
delphia 24

Officers and Committees of United Typothet^e of

America 26

Stephen Greene 28

Early Association of American Master Printers 30

Thomas MacKellar 31

Birth and Youth of English Printing H. M. Duncan . . 33

Pioneer Printers of America S. R. Davis .... 41

Attractions and Institutions of an Historic City . Special 46

The Movable Unit IV. B. MacKellar . 66

Arts of Wood-Cutting and Woodcut-Printing in

Japan 69

The Evolution of Illustrating H. M. Dimcan . . 80

Bookbinding : Study of a Practical French Book-
binder E. Bosquet .... 87

Application of Historic Styles in Ornamental Art ) n,, 7 .
to Modern Bookbinding. Renaissance ......)

Some Recent American Inventions 94

Development and Application of Colored Papers ) n , A ,

\ Paid Adam .... 96

to Bookbinding 3

Advertisements 1-7, 105-128

W 1 1,1.1 A M C. MART IX,
FIRST PRESIDENT, NEW YORK TYPOTHJ I I

HISTORY OF THE UNITED TYPOTHET/E.

RIXTIXG was carried on in the
United States as well as the
Colonies for 250 years before
those who practised the art
came together and made the
acquaintance of each other.
The establishment brought
over by Mrs. Glover, which
was set up in Cambridge in 1638, the one that
Bradford began in Philadelphia in 1685, and
those which were subsequently originated in
New York, Charleston, New London, Baltimore,
and elsewhere, had multiplied from that time
till now at a marvellous rate. Every state and
every territory had its own printing-offices and
its newspapers. Yet, no general meeting of
those who practised the art had been thought
of ten years ago. The intercourse between
Pittsburg and New York, between Chicago and
Philadelphia, between St. Louis and Boston,
was as slight as possible. No printer in one of
these cities knew one in another city, unless by
accident, and improvements in the calling might
have been originated and been known for years
in one before it reached another. This is now
changed. Nothing is more common now than
fraternal intercourse between printers from dis-
tant points, and the gains in methods, the knowl-
edge of speedier or better processes, are very soon
imparted from one to the other. Instead of
some towns being ten years in advance of others,
all are alike — nearly on the same line.

There were several local associations of print-
ers before the Typothetae began. When prices
rose with lightning-like rapidity during the civil
war, book paper being as high as twenty-five
cents, and news paper as high as eighteen cents
a pound, some grades of letter paper at sixty
cents, and compositors on morning newspapers
demanding sixty cents a thousand, it was neces-
sary for the employers to meet and to consult
together. They did this, and formed associa-
tions in Chicago, Philadelphia, Cincinnati, Bos-
ton and New York. Elaborate calculations were
made as to what prices should be charged cus-
tomers, and a reasonable adherence to these
figures was maintained as long as gold main-
tained its high premium. When it began to
fall, printers began to cut, and to neglect their
associations, and in a few years all were dead.
No meetings were held after 1871 or 1872. The
permanent value of these meetings was in the

calculations which had been entered into as to
the cost of work. The results were drawn out
in book-form by several of the societies, and to
them were added the interest on capital and the
necessary profits, as affording a basis for charges.
Most elaborately of all, a schedule was brought
forth by Theodore L. De Yinne, of New York,
then the Secretary of the New York Master
Printers' Association, as a price-list, and he also
contributed much to the typographical journals
of the war decade, upon the theory of the busi-
ness. Prices continued to sink after the panic
of 1873, and continued falling until about 1881
or 1882, when they began to stiffen somewhat.

No organization among the master printers
was again formed until 1885, when the New
York printers, under the active efforts of
Douglas Taylor, were brought together. Mr.
Taylor, without learning the art practically,
had carried it on for twenty years with marked
success, although cultivating no specialties.
The same abilities that had made him the
leader of the Democracy in one of the most
obstinately contested wards in New York City
when he was but nineteen years of age, and
had led him to originate and establish, while
still under twenty-five, the Manhattan Club, the
leading social organization of his political faith
in New York, showed him the methods of victory
in an organization of printers. He reasoned,
he cajoled and he threatened 1 he is a master of
all three arts), and all were needed to over-
come the indifference of the trade. Few imag-
ined that organization was of any value. The
society was at length established, with William
C. Martin, an old and revered printer, at the
head. St. Louis and Boston followed two years
after, and finally Chicago, when the event hap-
pened which brought all these societies together
and added two score more. This was an at-
tempt on the part of the International Typo-
graphical Union to reduce the hours of labor to
nine.

The Union had begun in 1850, but remained
weak up to the time of the war and through it.
After the conflict ended it grew more powerful,
and remained so. When England reduced its
printers' hours of labor, many compositors and
pressmen on this side of the water argued that a
similar reduction should take place here. The
question was much discussed, and in 1887 the
various societies resolved to put their theory

11

HISTORY OF THE UNITED TYPOTHET/E.

into action. They arched that the workingman
should derive some benefit from the spread of
civilization, and declared that machines did
so much of the work of the human race that
soon many men would have no work at all.
The time appointed was the first of November,
and on that day work was stopped in Chicago,
St. Louis, Detroit, Rochester and Louisville.
The employers, however, had not passed this
menace unheeded. St. Louis requested Chicago
to convene a general meeting of printers from all
over the Union, to consider what was necessary,
which was done. William C. Rogers, at that
time the Secretary of the New York Society,
zealously seconded the efforts of Chicago and St.
Louis, and a large number of delegates appeared
in the city of the lakes on the iSth of October.
Robert Harmer Smith, of New York, was
chosen to the chair. He was a man of judicial
mind, calm temper and perfectly familiar with
the questions to be discussed. Under his guid-
ance the convention finally resolved to make
itself a permanent organization, to meet year
by year, and to adopt the title of the United
Typothetae. A constitution was adopted, and
various committees were appointed. The title
selected for the name of the organization was an
old one. It was that by which the Emperor
Frederick III. of Germany had character-
ized the printers of Germany in the year 1470.
Meerman declares that he permitted printers to
wear gold and silver ornaments. Both Typo-
graphi and Typothetse were honored by him
with the privilege of wearing coat armor. Peter
C. Baker, an old and esteemed printer of New
York, was deeply impressed with the title of
Typothetae, as thus originated, and he caused
the name to be used for the gathering of the New
York printers, which took place when they
sat down to dinner together on the 22d of Feb-
ruary, 1863. This choice of a name proved a
happy one, and the New York Society, on the
iitli of December, iSS;,,, readopted it. Mr.
Baker is also responsible for the pronunciation,
ty-poth'-e-te, which he thought should be in
accordance with apostrophe and many other
words, with the accent upon the antepenult.
This, we learn from Prof. Henry Drisler, of

Columbia College, one of the leading classical
scholars of the country, is really right — the
pronunciation ty-po-the'-te being wrong.

The first meeting of the society was almost
entirely occupied in discussing the nine-hour
question and in preparing a constitution and
providing for the future meetings of the organ-
ization. Ii was felt that there should be more

intercourse in the trade among its members, and
that such intercourse would be valuable. Within
the half century preceding this meeting the
population of the country had increased nearly
fourfold, but the amount of printing had mul-
tiplied twelve times. New conditions of things
had come, and readjustment of many problems
was necessary. The answer to the nine-hour
demand of the workmen was that few other
trades worked nine hours; that ten hours did
not impose an excessive strain upon a man, and
that the increased price which it would be nec-
essary to ask for orders in the future would stop
a great deal of printing and would inflict actual
loss, and perhaps bankruptcy, upon many em-
ployers. At present, throwing aside paper, the
expenses of a printing-office are about 55 per
cent for labor, and 45 per cent for superintend-
ence, rent, insurance, power, and man}- other
things which add to the cost of production. To
lessen production one-ninth would reduce the
cost for labor to about 48 per cent of the former
aggregate, the other 45 remaining as before.
Hence, if the loading necessary in the one case
were 82 per cent, in the other it would be 91, or
one-ninth more, supposing the scale was unal-
tered. They did not believe the public would
pay this, nor did the}* believe the workmen gen-
erally desired it; but that the most of those who
had indicated acquiescence had done so to keep
on good terms with their more energetic breth-
ren. After this meeting the question did not
come up again until the Cincinnati gathering,
when Mr. Rockwell, of Boston, Mr. Gushing,
of the same city, and Mr. Pugh, of Cincinnati,
thought the question should be re-opened. The
two former gentlemen argued that, as workmen
lived farther from their offices than in 1850,
they were obliged to spend more time in transit,
which was really an addition to their day's work;
as business was more strenuous, and as machines
had, to a certain extent, displaced men, it would
be right to shorten hours. More attention,
probably, would have been paid to their argu-
ment, but just at this time a strike occurred in
Pittsburg, the men asking for fifty-four hours a
week. It was plainly supported by the Inter-
national Union, although there was no enact-
ment by that body upon that subject. The
Typothetae sustained the action of the Pittsburg
employers, both in person and by money, al-
though the latter amount was inconsiderable.
The strike lasted for about twenty months, when
it was abandoned, the hours again being fifty-
nine each week. The continuance of the strike
formed a potent reason against a shortening, and

HISTORY OF THE UNITED TYPOTHETAE.

similar arguments to their former ones, advanced
by the Boston delegation during the Toronto
meeting, did not receive much consideration. At
that meeting, however, the question was argued
on its merits, and was not stifled.

The apprenticeship question has been taken
up at nearly every meeting. In the largest cities
the feeling has seemed to be that it would be
impossible to cause apprentices to live up to
their agreements, nor would the boys be profit-
able; but in the smaller cities most of the mem-
bers felt that much could be done by suitable
regulations. Reports were also made on standards
of type, and on the point system. It was argued
that each size should be an invariable one, and
that the spaces and quadrates of one foundry
could be used interchangeably with those of
any other foundry. This reform has now, to a
very large extent, been taken up by the type-
founders, and in the course of a few years we
may look for an invariable standard which shall
be alike for all, and which shall vary only as
occasioned by difference of care and precaution,
and as affected by personal equation.

Much time has also been given to methods of
laying out printing-offices and fitting them up
with improved appliances.

A very valuable labor has been performed in
the consideration of the cost of producing work.
Ever}- job has a certain amount of time expended
upon it in the composing-room, and again in
the press-room. In the press-room the paper
must be charged, as well as the ink. But as in
the composing-room a thousand dollars' worth of
material is necessary to keep a journeyman
going, the type depreciating 15 per cent a year,
and in the press-room two thousand dollars' of
plant is required for each man, that depreciating
10 per cent a year, charges must be made on
account of the wear. Everything must be
housed, and everything insured. Heat, light
and power are necessary, and managers and
foremen must be provided, while there are a
multitude of little expenses which must be con-
tinually met. It is therefore necessary for the
printer to know how to estimate these costs, and
how to distribute them upon- each order. If
they are not reckoned in, the printer soon falls
into the sheriff's hands. This question has been
very prominently before all the meetings. Each
part of this problem has been discussed and
written upon, and if there are as many failures
among printers in the next half-dozen years as
in the last half-dozen, it will not be because
there have been no beacon-lights to make clear
the way. There is less deviation from prices

which are regarded as good than there formerly
used to be.

The purely literary aspects of printing have
not attracted very much attention. The printer
of to-day is more a commercial man and less a
literary man and a scholar than he was sixty
years ago. He employs writers, when that is
necessary, instead of himself writing. The
second session of the Typothetae, that in New
York, was largely taken up with a discussion of
the proposed copyright law of the United States,
since passed. It was agreed that authors should
receive advantage from their work, even though
foreigners. This was coupled with a clause in
the enactment that the actual work of type-
setting should be done here, in order to give
such benefits as might ensue to the American
trade. Since its passage, Mr. Richard Ennis, one
of the delegates from St. Louis, who opposed
the theory from its beginning, has several times
attempted to bring the matter before the United
Typothetae, to obtain a new and adverse ex-
pression of opinion, but has been unsuccessful
in this effort.

The meeting of the Typothetae, at Chicago,
the first time, wound up with a banquet at Kins-
ley's. It was agreed that the next meeting
should be at Xew York, and much effort was
made in that city to give such entertainment as
would be suitable. It included a trip around
the harbor and to Glen Island, with a clambake
and a banquet at the Metropolitan Opera House.
Mr. De Yinne, who was the first president of
the Typothetae, made a scholarly address, and
urged upon the printing craft everywhere the
necessity of organization. Mr. De Yinne is the
son of a Methodist minister, and has now been
in the printing business more than forty years.
He has been very successful in this, both in the
pecuniary aspect and in relation to the quality
of work turned out. In many respects he has
the best-equipped office in America. He is a
man of thoroughness, and had acquired much
prominence by his investigation of many prob-
lems interesting to printers. The new president
elected at the Xew York meeting was Andrew
McXally, of Chicago, who had come to the
United States as a very young man, without a dol-
lar of capital, and had built up a business larger
than any other in the United States which had
only existed for one lifetime. Mr. McXallv had
been very prominent in the initial meeting of
this organization, and has since been continually
a pillar of strength to it. The third meeting was
at St. Louis, and was characterized by the same
devotion to business as the others. A banquet

HISTORY OF THE UNITED TYPOTHETAE.

was given on board the steamship Annie P. Silver.
At this meeting Horace T. Rockwell, of Boston,
was chosen president for the next year. In ac-
cordance with a resolution of the convention,
agents were appointed to visit towns in which
typothetses had not been organized and see
whether they could not be induced to come in.
A very reasonable degree of success was attained.
When at the appointed time next year the con-
vention met at Boston, it was evident that in
Colonel Rockwell the Typothetae had chosen
one who had excellent parliamentary qualifica-
tions. Business never moved more rapidly or
more systematically than it did under his presi-
dency. From Boston the meeting was changed
to Cincinnati, when the members were warmly
greeted. Here for the first time the ladies were
especially cared for. Some of them had been
in attendance at all the meetings from New
York to Boston, but they were obliged to look
out for their own comforts. In Cincinnati the
ladies were taken, at times when the gentlemen
could not be with them, to theatres and to the
Eden Park Museum of Art, thus shortening
much the hours of absence. One of the features
of the Cincinnati meeting was very much en-
joyed. It was the excursion to High Bridge,
Ky., and to Ashland, the old home of Henry
Clay. Here an old-fashioned collation was set
forth, liberal to the extreme of liberality, and
half a million dollars' worth of horse-flesh was
shown — the racing studs of two great estates.
At this meeting Achilles H. Pugh presided, with
dignity and ability.

The Typothetae now concluded to meet out-
side of the United States, at Toronto, Out.,
having been urgently solicited so to do by the
delegates from that city. It is impossible to

conceive of a warmer welcome than tHe Cana-
dians tendered their American cousins. The
ladies had a separate banquet; they were given
a ride about the harbor, and carriages were pro-
vided for their comfort. All those present,
ladies as well as gentlemen, were taken to Nia-
gara and given a fish banquet at one of the
places on the lake. William A. Shepard was
the president. A natural orator, he unites
with this high business qualifications and an
unfailing courtesy. The last of the towns in
order, up to the present time, was Chicago.
This made the second time of meeting there.
As the delegates from that city said, before the
new place of convening was determined : ' ' We
can accommodate you better any other year,
and do more for you, than wre can this. But we
shall not have the World's Fair at any other
time, and if you want to come we wTant you to
do so. ' ' They gave the invitation ungrudgingly,
and the printers, as well as most of the other
well-to-do citizens of Chicago, entertained visit-
ors from the beginning to the close of the Fair.
Their efforts for the promotion of the comfort
of those who attended the Typothetae meetings
were unremitting. The sessions were held on
the grounds, and the banquet was at the New
York State Building. The features of the occa-
sion were drives up the Boulevards and a drive
in tally-ho coaches into the Fair grounds. The
latter was devised by Mr. C. H. Blakely, of that
city, one of the staunchest Typothetce members.
The coaches held nearly forty persons apiece,
and in long array were driven up to and through
the gates, a privilege never before accorded to
any one.

The officers of the United Typothetae from
its beginning have been as follows :

President.

I i 'I'll. o. I.. I)'- ViniK-,
■ - Andrew McNally,
! [orace T. Rockwell,

ii. Pugh,
w. a. Shepard,
• \\ II. Woodward.
(7) John k. McFetridge.
I 'lace : Chicago [887

Treasurer.
A. O. Russell,
A. o. Russell,
A. o. Russell,
a. o. Russell,
Charles Buss,
Charles Buss,
Charles Buss.

C/i a ii ma n Exccuti 7 <e
Committee.
Howard I,ockwood,
Howard koekwood,
Howard koekwood,
Amos Pettibone,
Amos Pettibone,
Amos Pettibone,
Joseph J. Little.

Corresponding
Seer eta ry.

Sam. Slawson,

Recording-
Secretary.
James Davidson,

Secretary,

Kverett Waddey, William Johnston,

Everett Waddey, J. S. Cushing,
Everett Waddey. W. I,. Becker.

— Everett Waddey,

W. C. Rogers.
Everett Waddey.
; New York i^v St. I.ouis 1 I89; Boston [890; Cincinnati [891; Toronto [892; Chicago [893.

//'. //'. Pasko.

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PAST-PRESIDENTS, UNITED TYPOTHET.E OF AMERICA.

1. THEODORE L. DE VINNE.

2. ANDREW MCNALLV.

3. H. T. ROCKWELL

4. A. H. PUGH.

5. W. A. SHEPARD.

6. W. H. WOODWARD.

PAST-PRESIDENTS OF THE UNITED TYPOTHETAE OF AMERICA.

O light responsibility rests upon
the executive heads in the
successful conduct of any
national body, whose regular
deliberations have for their
object the broad and essen-
tially unified interests of its
membership; either order or
chaos can be evolved from any proceedings
through the administration of matters during a
convention. For this reason, if for no other, the
president of such an organization is generally
one possessing both parliamentary knowledge
and self-control ; while his influence in the prac-
tical results of assembly is immediately apparent.
The United Typothetae of America has been
singularly fortunate in the respect just touched
upon; its executive officers have been uniformly
efficient in preserving its influence upon the
printing trade of the country intact, and further
than this, in correcting many insidious abuses
which have threatened to undermine the solidity
of profitable printing. No other preliminaries
are needed in offering a group of the past -presi-
dents of this honorable and influential associa-
tion of master printers of the United States and
Canada, together with the salient facts attending
their lives.

THEODORE E. DE VINNE.

Theodore Low De Vinne (second son of the
late Rev. Daniel De Vinne) was born in Stam-
ford, Conn., December 25, 1828. At the age of
fourteen he undertook to learn the printing busi-
ness in the office of the Newburgh Gazette, New
York State, in which office he was taught the
elements of composition and presswork. In 1848,
he went to New York City, and there worked in
several book and newspaper offices. In 1850, he
became the foreman of the printing-house of
Francis Hart. Eight years afterward he was ac-
cepted by him as junior partner. On the death of
Francis Hart, in [877, he succeeded to the busi-
ness, changing the name of the firm to Theo.
I.. De Vinne & Co., in which firm his son, Theo-
dore Brockbank, was made a partner. The

growth of the business compelled him to seek a

larger building, at tin- corner of Lafayette Place
and Fourth Street, in which tin- business of the
house i^ now done.

In 1S72, lie began to do work for the Century

Company ! then but recently established 1 and

has ever since remained the printer of that com-
pany, printing the St. Nicholas, Century, and
other publications.

Mr. De Vinne has never lost his interest in
printing. In 1862, with Peter C. Baker, he
formed the first association of master printers
in New York City (now known as the Typoth-
etse). For many years he was the secretary,
and now is the president of the New York
Typothetae. He was the first president of the
United Typothetae of America. He is a member
of the "Aldine," " Grolier," "Authors," and
"Century" Clubs of New York, and is in
correspondence with many literary societies in
this country and in Europe. His tastes are
eminently bookish, both from a practical and a
theoretical point of view. In 1869, he published
"The Printers' Price-list," and another edition
in 1872. It is now out of print and will not be
reprinted. He is the author of ' ' The Invention
of Printing," 1876, and " Historic Types,"
1886.

ANDREW MCNAIRY.

The second president of the association was
Andrew McNally, the well-known publisher,
who is a typical Chicago business man. AYe
quote from a sketch embodying the principal
events of his career :

During more than thirty-five years he has
applied himself strictly to the development of
the printing industry in this country, has no
peer in the West, and is regarded as one of the
most successful publishers of his day. Mr.
McNally is of Scotch descent, and possesses all
those sturdy traits of character peculiar to his
ancestors. Born in the north of Ireland in 1836,
he obtained a liberal education. Early in life
he was apprenticed as a printer. For seven
years he worked industriously in the printing-
house of John McWaters, of Armagh. There
he became familiar with the details of the busi-
ness. From proof-boy he rose to a position
embodying all the responsibilities of the trade.
While thus serving his employer, Mr. McNally
obtained that clear insight into the publishing
business and cultivated those inherited qualities
that have stood him in such good stead in after-
life. It was while industriously acquiring this
knowledge that the ambitious young Scotchman
conceived the idea of seeking his fortune in
America. In [858, he landed in New York, but

16

PAST-PRESIDENTS OF THE UNITED TYPOTHET/E OF AMERICA.

soon left that city and journeyed toward
Chicago, arriving in the city which even then
had a promising outlook for the future, and
started the Evening Star, a penny paper. Sub-
sequently, this enterprise, with a small job
office which he had opened, was sold out and he
took charge of the Tribune job office, then the
largest in the city. In that position Mr. McNally
remained until 1864, when he became associated
with W. H. Rand. Out of this grew the firm of
Rand, McNally & Co. of to-day, which controls
one of the most complete printing-plants in the
country. The young firm met with more or less
success until the great calamity of 1871, when
the fire swept away everything, and Mr. McNally
found himself almost as poor as on the day he
arrived in the city. Not dismayed by the mis-
fortune, he set about re-establishing the business
of the firm. The flames that swept away so
many hopes and fortunes were still blazing in
the city when he purchased on the West Side
the only printing-office that had escaped the
conflagration. The plant was transferred to a
brick building at 108 Randolph Street. All the
available presses to be had were obtained, addi-
tional type was secured, and in a few days the
firm was again doing a thriving business. From
that time the success of the firm was assured.
The same energy and enterprise has marked the
late development of the business. It grew up
with and became a part of the new city. Al-
though the publisher has applied himself almost
entirely to the printing industry, he has engaged
also in other financial ventures. He is Vice-
President of the Chicago National Bank, and
has been connected with that institution since
its establishment. He is also connected with
various other business interests. As a Director
of the World's Columbian Exposition he ren-
dered invaluable service to the city of Chicago
as well as to the Fair.

HORACE T. ROCKWEIJ,.

Horace T. Rockwell, the third president of
the United Typothetse of America, was born in
Winchester, Connecticut, in 1838, but has re-
sided in Boston since 1853. Through journal-
istic connections of his father he became a news-
paper reporter when he was but seventeen years
old, and while serving in that capacity on the
Boston Daily Courier, took advantage of oppor-
tunities to familiarize himself with the inside
detail of the printing-office, learning the " case "
and doing more or less typesetting. Though
not continuously maintaining these associations
his predilections for the printing trade were

simply held in abeyance, for in 1866, he started
an office in connection with an older printer.
His partner dying two years after this, the firm
became Rockwell & Churchill, under which
title it has continued until the present time.
The business has been very successful, and the
reputation of the firm maintained upon a high
basis; its finer productions are particularly emi-
nent, while the personal and commercial stand-
ing of those controlling the concern are of the
most distinguished.

Colonel Rockwell has held several public posi-
tions. He has served in the City Council of
Boston, and in the Massachusetts Legislature.
For seven years (by the appointment of three
different governors) he held a responsible posi-
tion upon the military staff of the state, and for
three years he was chairman of the Boston
Water Commission. He was also the first presi-
dent of the Boston Master Printers' Club, and
at the organization of the United Typothetse of
America was an active delegate, being chosen
as president of that national body at the elec-
tions of 1889. To Colonel Rockwell belongs the
honor of presiding at the very successful and
memorable convention held at Boston, in 1890.

ACHILLES H. PUGH.

At the Boston convention Mr. Pugh was
elected as president, presiding at the cordial
deliberations in Cincinnati the following year.

Achilles H. Pugh was born in Cincinnati,
November 24, 1846, his father, Achilles Pugh,
being publisher of The Philanthropist, an Abol-
ition journal. His office was destroyed in 1836,
but during the entire course of the agitation in
favor of freeing the slaves he was actively iden-
tified with that cause. The elder Mr. Pugh
wTas a Pennsylvanian, a descendant of Ellis
Pugh, a Quaker preacher, who emigrated to the
colony of Pennsylvania, from Wales, in 1687.

The subject of our present brief sketch was
educated in the common schools of Cincinnati,
and graduated from the High School in 1865.
For ten years afterward he followed the pro-
fession of civil engineer, spending several years
in Colorado and Utah upon the construction of
the Pacific Railroad and other western lines.

In 1874, Mr. Pugh succeeded to the business
of his father, which had been established since
1852, and shortly after married a Miss Darr, of
his native city. He was one of the delegates
chosen by the Cincinnati Typothetse to repre-
sent it at the organization of the United Ty-
pothetse of America, in 1887. He was elected
president of the national body in 1890, and the

I?

PAST- PRESIDENTS OF THE UNITED TYPOTHETAE OF AMERICA,

convention in which he presided will be pleas-
antly remembered.

WILLIAM ALLEX SHEPARD.

The fifth past-president of the national body
was W. A. Shepard, one of the organizers of the
Employing Printers' Association, of Toronto, and
the second president of the latter organization,
holding the position for two years. He has been
an active member of its most important commit,
tees, being at present chairman of the Execu-
tive Committee. He was elected vice-president
of the United Typothetae at the New York con-
vention of 1892, and has been present at each
succeeding meeting of that association. At the
Cincinnati convention, held in 1891, he was
elected president, and in 1892, gracefully wel-
comed the delegates to the beautiful city of
Toronto. The historian of the Typothetae for
that year has told how well he did his work as
presiding officer and as host.

Mr. Shepard was born in Brownsville, N. Y.,
Jul}' 6, 1830, and when but six months of age
accompanied his parents to Canada. He after-
ward taught school near Belleville. In 1847, ne
went to Hamilton and apprenticed himself to
the printing-office of the Canada Christian Ad-
vocate, of which his father, Rev. Gideon Shep-
ard, was subsequently the editor for eight years.
He became foreman before half his apprentice-
ship had expired, filling the position for a num-
ber of years.

In 1858, "sir. Shepard became man of all work
on the Intelligencer, Belleville, being composi-
tor, local editor, compiler of directories, etc.;
when the gold fever broke out in Belleville and
the Daily Intelligencer was started, he assumed
its guidance. He was a political writer of abil-
ity, and added much of interest to that paper.

The Intelligencer Printing and Publishing
Company was a later expression of his organiz-
ing capacity, and he remained managing direc-
tor and editor of the business until he removed
to Toronto, where he became connected with
the Mail Job Printing Company, since which
time he has built up one of the most notable
establishments in Canada. His knowledge of
the printing art is extensive, and his taste excel-
lent.

W. H. WOODWARD.

W. II. Woodward, President of the Wood-
ward .x. Tit-man Printing Company, of St. Louis,
was born at Coventry, England, December 11,
1S34. His father was a minister of the Protest-
ant Episcopal Church, and came to this country

in 1845, taking up his residence first at Burling-
ton, X. J., and later becoming the rector of a
church in Philadelphia. It was during this pe-
riod that young Woodward received his educa-
tion and in the city to which he now returns as
a delegate to the convention of the United
Typothetae of America, and one of the leading
employing printers of the country.

He commenced to learn the printers' trade at
Madison, Wisconsin, in the office of Atwood &
Buck, in 1850, and completed his apprenticeship
in the job office of the old Missouri Republican
of St. Louis. He worked there as journeyman
for several years, finally being promoted to fore-
man, a position he held until 1865. He then
purchased a small printing business, which he
carried on by himself for two years, when he
took James Tiernan into partnership. The bus-
iness grew steadily from the start and increased
its proportions up to the death of Mr. Tiernan, in
1887, when it was merged into a stock company,
with Mr. WToodward as president and principal
stockholder. Greater prosperity than ever at-
tended this change, and the Woodward & Tier-
nan Printing Company is now the largest
printing establishment in the United States west
of Cincinnati and south of Chicago, and boasts
of more departments than any printing-house in
the country.

The business, which was originally that of a
job-house, has taken on new departments from
time to time until it now embraces lithograph-
ing, steel-engraving, electrotyping, line and
half-tone photo-engraving, blank-book making,
binding and map-engraving.

Mr. Woodward is public-spirited, always
ready to support any measure looking to the
welfare of his profession, and is a leading mem-
ber of an organization of prominent citizens for
the advancement of the interests of St. Louis.
He was one of the original members of the
Typothetae of St. Louis, and was its president
during the strike of 1885, which was settled
through his good judgment and influence. He
has been a delegate to every convention of the
United Typothetae since. In 1892, he was
elected president of the national body, and pre-
sided over its meeting on the World's Fair
Grounds at Chicago last year.

The group of portraits designating the fore-
going gentlemen bears at its bottom the his-
toric arms of the Typothetae. The portraiture
is true to the originals, and will be cherished as
a souvenir of ever-vital interest by those who
have followed the course of the United Typoth-
etae since its incipience.

is

JOHN R. McFETRIDGE.
PRESIDENT, UNITED TYPOTHETiE OF AMERICA.

THE EXECUTIVE OF THE UNITED TYPOTHET^ OF AMERICA.

JOHN R. MCFETRIDGE, PRESIDENT.

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^ OHN R. McFETRIDGE, an
excellent portrait of whom
appears in this connection, is
a native of Philadelphia, and
his entire career has been
devoted to active participation
in printing and its allied terri-
tory and many interests.
As president of the United Typothetae of
America he is one of the leading citizens of
Philadelphia, and a master printer of recognized
eminence in the printorial world. In reviewing
his career, we can do no better than to repro-
duce the substance of a sketch previously
appearing in Paper and Press.

On the ist of April, 1893, when Burk &
McFetridge Company succeeded Burk & McFet-
ridge, the event marked a change in the style
of one of the best-known firms in the trade,
dating from September 15, 1877, when it suc-
ceeded to the business of the old Inquirer
Printing House, founded in 1810, by Jesper
Harding.

Mr. McFetridge entered the employ of Mr.
Harding at an early age, and filled an important
position until 1877, when, with William M.
Burk, he purchased the business from William
W. Harding who had succeeded to the interests
of his father, and established the firm of Burk
& McFetridge. The new firm was a success
from the beginning, and at once acquired a con-
spicuously honorable position among the busi-
ness houses of Philadelphia. In the years that
have since elapsed, the firm has enlarged its
establishment, and increased its facilities to
meet the demand of a rapidly enlarging trade,
until their plant, at Xos. 306 and 308 Chestnut
Street, is one of the best of its kind in the
United States. The work embraces printing,
lithographing and publishing, in all their
branches.

Mr. McFetridge is president of the Phila-
delphia Typothetae, an association comprising
the leading master printers of eastern Pennsyl-
vania. His present occupancy of the position of
President of tin- United Typothetae of America,
comprising all tin- various local branches of
Typothetae throughout tin- United States and
Canada, is the highest honor in the power of
this influential body to bestow, and denotes its

appreciation of qualities which fit an executive
for his position in its deliberations. Mr. Mc-
Fetridge was a delegate to conventions held in
New York, Boston, St. Louis, Cincinnati, To-
ronto and Chicago. He is also a conspicuous
member of the fraternity of Free and Accepted
Masons, and successfully labors in the interest
of the various branches of the Order. He is
the first initiate member of Potter Lodge, Xo.
441, F. and A. M., and was the Worshipful
Master of that Lodge in 1881. He was elected
Treasurer very soon after his term as Worship-
ful Master, and has been unanimously re-elected
to the position at each succeeding annual elec-
tion since. He is a member of Harmony Chap-
ter, Xo. 52, Holy Royal Arch Masons, a mem-
ber of St. Alban Commandery, Xo. 47, Knights
Templar, of which body he was the Eminent
Commander in 1888 and 1889, and continues to
officiate in that capacity in conferring the Order
of the Temple. He is a director in the Phila-
delphia Bourse, and a member of the Executive
Committee of that association. He is also
identified prominently with numerous business
enterprises of a corporate character, in all of
which he displays the same degree of interest,
the same cordial courtesy, the same untiring
vigor, which have so materially contributed to
his undivided prosperity and so widely increased
his circle of friends. •

EVERETT WADDEY, SECRETARY.

Everett Waddey, the secretary of the United
Typothetae of America, was born on March 25,
1853, m Thomasville, Ga., of Virginia parents,
and resided in Virginia since he was four years
old. He went to the printing business at the
age of fourteen. After five years as a journey-
man spent in various cities, he went into the
stationery business as a travelling salesman.
He started in business on his own account in
July, 1SS2. After a successful prosecution of
the same for eight years he formed the joint
stock company bearing his name and of which
he is president. He was elected the correspond-
ing secretary of the United Typothetae of
America at the second annual convention, held
in New York in [888, and was continuously re-
elected to that office until it and the office of
recording secretary were consolidated at the

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THE EXECUTIVE OF THE UNITED TYPOTHETSE OF AMERICA.

Cincinnati convention in 1891, when he was
elected secretary, which office he has held ever
since with honor and distinguished efficiency.

JOSEPH J. UTTEE, CHAIRMAN, EXECUTIVE
COMMITTEE.

The Hon. Joseph J. Little, one of the most
prominent participants in the transactions of
the United Typothetse of America, and the
capable chairman of its Executive Committee,
is a native of England, having been born in
Bristol, June 5, 1841. He accompanied his
parents to the United States in the early part of
1846, residing in the village of Morris, Otsego
County, New York. Here he received his edu-
cation in the village district school, and after-
ward became apprenticed to the local printer.
He was then but fourteen years old, and
remained in the position for four years, at the
expiration of which time he entered a book
office in New York City to complete his trade.

Mr. Little enlisted in the Union Army, serv-
ing in 1862, in 1863, and 1864, as corporal, first
sergeant, and first lieutenant, respectively.
He is now the colonel of the Seventy-first Regi-
ment Yeteran Association, and a member of

Lafayette Post, No. 140, Department of New
York, G. A. R.

In 1866, Mr. Little was married to a daughter
of John Robinson, a direct descendant of John
Robinson, who came over in the Mayflower.
The following year he established the printing
business which bears the name of J. J. Little &
Co., and which is one of the best-known firms
in New York. The Congressional Directory
offers the following facts as to his distinctions:

Mr. Little was a member of the Fifty-second
Congress, being elected from the Twelfth Dis-
trict. He was a member of the Board of Edu-
cation and chairman of Committee on Buildings
at the time of his election, and was an active
member of the New York World's Fair Com-
mittee. He was also one of the incorporators
in the World's Fair bill passed by the New York
Legislature, as also in the Congressional bill
introduced in behalf of New York. He was
elected to Congress as a Democrat to fill the
unexpired term of Roswell P. Flower, receiving
a large majority of the votes of his district.

Mr. Little is an influential member of the
New York Typothetse, and one of the best-
known men in the national bodv.

According to a statement made in a recent
lecture by Shugeo, a noted Japanese savant, and
noted as follows by The Monthly Bulletin,
the oldest Japanese manuscripts, like those of
Europe in the Middle Ages, were highly deco-
rated with miniatures, capitals and other orna-
mentation. The art of printing was introduced
into Japan from China. The oldest printing
from movable type dates from 770 A.D. A copy
of this publication is still extant. The first
printing of wood-engravings dates from 1328,
the first impression made with colors, from 1695.
At the present time, Japanese publishers gener-
ally print only on page one of the sheet. The
native paper is very strong, but papers of a
poorer grade, imported from abroad, are now-
beginning to be used. The cover for ordinary
books is made out of the same kind of paper,
and on it are printed the title of the book,
the date, edition, and name of publisher. In

the case of more valuable books, the covers are
of cloth Or silk. In most recent times, books
art- also being hound after European fashion.

Apropos of curious newspapers, says the
paper quoted as authority for the foregoing

notice, the Esquimaux Bulletin is certainly the
most curious in the world. It is primed at Cape
Prince of Wales, Alaska, in latitude 54 degrees,
40 minutes, and claims to be the only journal
published within the Arctic Circle, while it is
issued only once a year.

This little paper is printed on stiff white
paper, on one side only, the size of the sheet
being 12x8 inches. It is printed not from type,
but by the hectograph process, and contains a
variety of news, arranged under different heads.
In mirthful imitation of the daily papers in
other localities, it triumphantly carries at the
head of its columns the legend, " Largest Circu-
lation in the Arctic," and also the additional
boast of "Only Yearly Newspaper in the World. ' '
The Esquimaux Bulletin is in error, however,
in assuming this sub-title. Has our contempo-
rary seen a copy of the Atnaglintit?

That is also a yearly paper, and it is published
in about the same latitude as the Esquimaux
Bulletin, at Goothaab, in Greenland. A Pari-
sian journal, the XXe Siecle, appears once a
year, but that is only to secure the right to the
title when the twentieth century becomes a
fact.

22

»

OFFICERS

TYPOTHET^ OF PHILADELPHIA

^1894*

PRESIDENT
John R. McFetridge

SECOND VICE-PRESIDENT
J. R. Jones

CORRESPONDING SEC RE TARY

FIRST VICE-PRESIDENT
M. Richards Muckle

William M. Patton

Stephen Greene
Louis E. Levy

EXECUTIVE COMMITTEE
George H. Buchanan

RECORDING SECRETARY
John W. Wallace

TREASURER
William B. MacKellar

William F. Fell
William F. Geddes

EIGHTH ANNUAL MEETING

UNITED TYPOTHET^ OF AMERICA

Held in Philadelphia, September 18, 19, 20 and 21, 1894

The following Committees were, comprising all the members, appointed to carry out

the duties incident to the occasion :

Stephen Greene,
A. G. Elliot,

FINANCE
M. Richards Muckle, Chairman.
J. R. Jones,
Geo. H. Buchanan,

C R. Carver,
Wm. F. Fell.

ENTER TA INMENT

Edwin S. Stuart,
Clayton McMichael,
Stephen Greene,
M. Richards Muckle\
Prank Mclaughlin,

J. K. J

Charles J. Cohen,
M. F. Benerman,
C. \v. Edwards,

« ,. ■ .. 1 1. Buchanan,
John \v. Wallace,
wm. F. Pell,

C. R. Carver,
W. M. I 'at ton,

Walt, r i;. Hering,

A. I ,. l-.lliot.

John I). Avil,
Alfred j. Briggs.
Frederick B. Gilbert,

William II Nixon.

Chas, m. Sb ii
Thos. s. Dando,

)•,. B. Yordv,
Wm. M. Jordan

William B.
Frederick Munch,
Wm. n. Hoskins,

Alfred M. Slocum,
Jos. II. Maun,

r. ii. Brown,
Nathan Billstein,
Wm. !•'. Geddes,
Ainhrosc Shapley,
William M. Taggart,
R. W. Ilartnctt,

John Blakely,
F. o. Woodruff,
[vouis Wolf.
Chas. I'.iuu Johnson,

C. w. Bendernagel,
Chas. R, Graham,
chas. Dunkelberger,

F. W. .McDowell.

jas. Dobelbower,

D. I). Engle,
F. w. Farrell,
I w. Pepper,
Frank E Manning,

MacKellar, Chairman.
Wm. C. Squibb,
Geo. E. Deacon,
Chas. J. Dittess,
Jos. A. Kslen,
A. R. Keller Company,
Geo. Wash. Jackson,
G. G. Williams,
Jos. B. Mitchell,
Harry I''. Stern,
John M. Rogers,
I.ouis M. Levy,

irw in x. Megargee,
William J. Dornau,
Janus W. Mills,
Thomas 15. Morrcll,
Han ford C. Smith,
Ren wick Rodgers,
Thos. a. Bradley,
George F Rasher,

James Iieale,
John F. Bellows,
Daniel W Clarke,
Clymer Printing Company

24

E. Stanley Hart,
Augustus Jackson,
s. j. Magarge,
A. II. Sickler,
James Magee,
Edgar M. Hoopes,
II. .McAllister,
Ceo. ]!. Wright,
Chas. !<;. Hallowell,
Chas. I,. Merrill,
15. F. Banes,
W. A. Church,
Wm. T. Elliott,

j. c. Evans,
U. C. McKee,
Matthew Jackson, Jr.
Charles W. Iieck,
Daniel S. ISoiincv,
Samuel M. Kennedy,
Duncan & Co.,
Gibson Catlctl,

0. A. Zabel,

W. S. Morse,

1

*

OFFICERS, TYPOTHET.E OF PHILADELPHIA.

JOHN R. MCFETRIDGE, PRESIDENT.
M. RICHARDS MUCKLE, FIRST VICE-PRESIDENT. J. R. JONES, SECOND VICE-PRESIDENT.

JOHN W. WALLACE, RECORDING SECRETARY.

WILLIAM M. PATTON, CORRESPONDING SECRETARY,

riLLIAM B. MACKELLAR, TREASURER.

Edwin S. Stuart,
Frank Mclaughlin,
M. Richards Muckle,
J. R. Jones,

RECEPTION
Clayton McMichael, Chairman.
William M. Taggart, John W. Wallace,

Jas. R. Young, Wm. M. Patton,

A G. Elliot, Geo. E. Deacon,

Chas. M. Stoever, John D. Avil,

James W. Mills,
Wm. H. Hoskins
Harry F. Stern,
Wm. H. Nixon.

Fred. B. Gilbert,
John W. Wallace,

HOTELS AND HALLS
Walter E. Hering, Chairman.
Chas. Eneu Johnson,, Chas. M. Stoever,

C. W. Bendernagel, William J. Dornan,

F. W. McDowell
S. J. Magarge.

Stephen Greene,
Alfred M. Slocum,

BANQUET MUSIC AND ADDRESSES
William F. Fell, Chairman.

Irwin N. Megargee,
Jos. B. Mitchell,

D. D. Engle,
Fred. Munch,

U. C. McKee,
Robert H. Brown.

John W. Wallace, Chairman.

PRINTING
Wrm. M. Patton,

C. R. Carver.

C. W. Edwards,
George B. Wright,

CO A CH RIDE

John M. Rogers, Chairman.
R. W. Hartnett, Louis Wolf,

Chas. L. Merrill, Chas. J. Dittess,

Thos. A. Bradley,
Daniel S. Bonner.

M. F. Benerman,
Louis E. Levy,

EXCURSION
Alfred J. Briggs, Chairman.
W. F. Geddes, James Beale,

George F. Lasher. Wm. C. Squibb,

Jos. H. Mann,
Daniel W. Clarke.

Wm. M. Patton,

M. Richards Muckle,

PRESS
Clayton McMichael, Chairman.
Frank McLaughlin, Hanford C. Smith,

William M. Taggart, C. W. Edwards,

Edgar M. Hoopes,
John Blakely.

Mrs. J. R. McFetridge,
Mrs. J. R. Jones,
Mrs. C. R. Carver,
Miss Alice Johnson,

ENTERTAINMENT OF LADY GUESTS
George H. Buchanan, Chairman.

Mrs. J. M. Rogers,
Mrs. J. W. Wallace,
Mrs. W. E. Hering,
Mrs. W. M. Patton,

Mrs. C. W. Edwards,
Mrs. J. D. Avil,
Mrs. W. F. Fell,
Mrs. Geo. H. Buchanan.

Mrs. Wm. B. MacKellar,
Mrs. W. T. Donaldson,
Miss Nellie W. Wallace.

PROGRAMME OF THE CONVENTION

The following are the arrangements perfected for the Convention:

Monday, ijth. — Meeting of the Executive Committee.

Tuesday, /<W/\ — Meeting of the Convention, two sessions. Informal Reception in the evening,
at the Hotel Metropole, to Delegates, and Ladies.

Wednesday, rgth.— Morning meeting from 9 to 11 o'clock; 11.30, Coach Ride through the
Park to river-road drive, up the Wissahickon to Indian Rock. Lunch served. Places of amuse-
ment in the evening.

Thursday, 20th. — Trip to Atlantic City (City by the Sea), the great seaside resort of Phila-
delphia. Dinner at Hotel Dennis.

Friday, jisI . — Two sessions. Banquet in the evening for Delegates, at the Union League of
Philadelphia. Banquet for the Ladies at the Hotel Metropole.

A Ladies' Committee has been appointed to escort the Ladies to the various places of interest
in the city.

The meetings will be held in the large banqueting room of the Hotel Metropole.

26

CLAYTON McMICHAEL,

FIRST PRESIDENT, PHILADELPHIA TYPOTHET^E.

STEPHEN GREENE.

FROM OVIO'S "TRISTIA
VENICE, J. DE CIRETO, 14

R. GREENE is now in the
sixty-third year of his age,
being born in Bainbridge,
Chenango Comity, X. Y.,
September 25, 1831, from
whence his parents moved
into Pennsylvania in 1834.
The public school system
of Pennsylvania was organ-
ized during the year 1836,
and he had the advantage of attending the public
schools of Marietta, Columbia and Washington,
Lancaster County, Pa., from 1836 to 1845, to-
gether with private schools during the summer
months. While residing with his parents in
Columbia in 1846, he left home to engage in
teaching a public school in Hellam Township,
York County, Pa., which he continued during
the winter of 1846-7. After the close of this
school, upon very careful consideration, he de-
cided to learn the printing business, and in Octo-
ber, 1847, entered the printing-office of the
Pennsylvania Intelligencer, at Harrisburg, Dau-
phin County. During the winter of 1847-8, he
went through a practical experience from the
bottom of the ladder, casting composition-rollers,
washing rollers and type, setting type, working
hand-press, and all an apprentice of those days
in a country printing-office was expected to do,
cheerfully, willingly, and without demur. At
this period, the presswork of the great majority
of city and country newspapers was executed on
Washington, Columbian and other hand-presses.
In May, 184S, he left the Pennsylvania Intelligen-
cer printing-office, and entered the office of the
Columbia Spy, Columbia, Lancaster County, Pa.
In July, 1849, he came to Philadelphia, and was
engaged as a compositor in the office of the late
Wm. S. Young, Sixth Street below Arch. Dur-
ing this period, his nights were employed in
"subbing" on the Daily News, then published
on Third Street below Chestnut. In the fall of
this year, he returned to Columbia to assume
charge of the mechanical department of the
Columbia Spy, which was occupied by him
marly continuously until April, [853, when he
became one of the editors and proprietors. In
[855, he became sole editor and proprietor, and
continued the business until [857, when he sold

the establishment, and in 1858 moved to Phila-
delphia, to organize the new firm of Ringwalt &
Co., printers, 34 South Third Street, of which
he was the active member. He retired from
this firm in i860, and in 1861, took the position
of superintendent of the printing establishment
of the late Henry G. Leisenring, 32 South Third
Street. Here, in 1862, the first presses used in
Philadelphia for printing consecutively -num-
bered local and coupon, railroad and other tick-
ets, were introduced under his direction. By
his efforts and management, the volume of busi-
ness was so largely increased that it became
imperative to seek more commodious quarters,
and room was secured and occupied in the large
granite building, 237 and 239 Dock Street (which
was destroyed by fire in 1872 ). He severed con-
nection with the Leisenring Printing House in
1 87 1, and entered into copartnership, forming
the firm of Helfenstein, Lewis & Greene, to
which he succeeded as sole proprietor in April,
1 88 1, and continues the business at the present
date.

Mr. Greene has been engaged in the printing
business for nearly forty-seven years. During
this long and active career, it has been his
constant aim to take advantage of the most
improved machinery, to elevate the general
standard of all classes of printing, and foster a
correct taste. Always ready and willing to aid
and impart information to others, he has made
friends of all who have been brought into busi-
ness relations with him, and secured the respect
of his contemporaries.

Whatever success he has attained is largely
due to a thorough practical training, an early
mastery of the business in every branch and
detail, the adoption of, and strict adherence to,
a thorough system, and to a love of types, ink,
paper, presses, and all that is required for pro-
ducing the highest order of finished work of
the various classes.

While engaged in and conducting an exten-
sive printing business, Mr. Greene has also given
time to other enterprises, with successful re-
sults, and has devoted attention to aiding in the
management of various benevolent, philan-
thropic and religious organizations, where his
time, council and aid have been freely given.

STEPHEN GREENE,

CHAIRMAN. EXECUTIVE COMMITTEE, TYPOTHET.E OF PHILADELPHIA.

AN EARLY ASSOCIATION OF AMERICAN MASTER PRINTERS.

ROBERT STEPHENS, 1537.
PRINTED AT PARIS

HE exact date when Ameri-
can printers of the employ-
ing class first established a
local organization, in re-
cognition of benefits to be
derived therefrom, is very
difficult to determine, and
the industrial chronicler is
thus forced to conjecture
about what he would wish
to know. It is well known that long before any
national body had convened various associations
in different sections of the country had been
inaugurated to deal with such questions as
might require adjustment, and to establish bet-
ter environing conditions throughout the trade
in their specific localities. Mr. Pasko, in his
excellent historical article elsewhere in this
volume, speaks of associations in Chicago,
Philadelphia, Cincinnati, Boston and New York,
formed during the civil war with a view to
establishing prices. There is evidence, how-
ever, of a coalition between master printers
long prior to this period, and through the cour-
tesy of John R. McFetridge, President of the
United Typothetse of America, we are enabled
to place in the hands of delegates to the Eighth
Annual Convention of that body, a digest of
what we believe to have been the first organiza-
tion of employing printers, so far as the United
.States is concerned.

Mr. McFetridge has placed in our possession
a copy of the constitution of the " Employing
Printers' Association of Philadelphia," which
was adopted February 7, 1835, the imprint at the
bottom bearing date under that year. Of this
interesting remain, the preamble is noteworthy:
" Whereas, The associating of individuals of
the same profession, for mutual information,
counsel and assistance, must necessarily prove
highly advantageous, as tending to unite in
closer bonds of fellowship those who are inter-
ested in each other's welfare; and as experience
teaches that, by union and concentrated action,
many laudable designs may be effected, which
cannot be accomplished by individual effort;
we, the subscribers, do hereby agree to form
ourselves into a society, under the name of
'The Employing Printers' Association of Phila-
delphia,' to be- governed by the following:"
'flu- balance of the pamphlet is also worthy
of reprinting, and in this connection, as a mat-

ter of unrecorded history, we offer a few extracts
from the constitution, the full text of which is
quite interesting.

ARTICLE I.
This association shall consist of employing
printers of the city and county of Philadelphia.

ARTICLE II.
The officers of this association shall be a
president, vice-president, secretary, assistant
secretary and treasurer.

ARTICLE VI.
Candidates for Membership.
Application for membership to be made at a
stated meeting, when, if deemed necessary, a
committee shall be appointed to make inquiry,
and report to the next stated meeting on the
eligibility of the candidate. If favorable, a bal-
lot shall then be taken, and a majority of two-
thirds of the members present shall be necessary
for his election. On admission, he shall sub-
scribe to the constitution, and pay an initiation
fee of $3.

ARTICLE VII.
The association shall adopt a scale of prices
for composition and presswork, by which all
contracts for work shall be made, and any mem-
ber violating this rule shall be liable to fine or
expulsion.

_^

Possibly the significant feature of this early
association is its adoption of a scale of prices,
doubtless decided upon as a means of protection
against indiscriminate estimating on composi-
tion and presswork. It could hardly have
resulted from labor difficulties, as the Typo-
graphical Union had not yet been organized.

Whatever may be said as to the priority of
credit which historic Philadelphia would appear
to deserve for her possession of so ancient an
organization of master printers, the little typo-
graphical antiquity is very interesting and im-
portant. It gives conclusive evidence that the
printers of half a century ago were fully alive
to the evils in their business, and understood,
moreover, the only sure method of eradicating
them. It also seems to warrant the position of
Philadelphia as first among the cities of the
United States possessing a distinctive master
printers' association.

30

THOMAS MACKELLAR.

Inseparably associated with the develop-
ment of printing in America, to the advance-
ment of which his high scientific attainments
have ever been devoted, the subject of this brief
sketch stands among the foremost of that dis-
tingiiished few whose achievements in the typo-
graphic world have rendered their names im-
perishable. Head of one of the largest and best
equipped type-foundries in the United States,
and one which in two more years will celebrate
its centennial anniversary, Mr.
MacKellar has enjoyed a long
and honorable career, the useful-
ness and helpfulness of which
have established his reputation
upon those foundations which all
mankind revere. No souvenir
rendered possible by Philadelphia
typography would be complete
which disregarded a notice of one
so long connected wuth American
printing as the leading partner
in the first American type-foun-
dry, and a successful author and
editor of printers' literature.

Thomas MacKellar was born
in New York, August 12, 181 2,
and wThen but nine years old
entered the printing-office of the
New York Spy ; this paper con-
tinued but two years after this
date, and the young printer then
associated himself with J. & J.
Harper, of the same city. His
work in this office developed such
excellence that his employers
promoted him to the position of
proof-reader when he was seven-
teen years of age. Relinquish-
ing this on account of over-
strained eyesight, he wrent back
to the case to perform the fine
or intricate work of the office.
In April, 1833, he came to Phila-
delphia as foreman of the com-
posing-room in the foundry of L. Johnson, where
for many years he acted as proof-reader as well,
working eleven and sometimes fourteen hours a
day ; subsequently he was forced to give all his
time to the composing-room, where twenty books
and over were often simultaneously in hand.
To the immense diversity of literature which
passed under his eye is due the broad general
knowledge which served him well in later years.

In April, i860, Mr. Johnson died, and his
three junior partners, Thomas MacKellar, J. F.

Smith, Richard Smith, and another gentleman,
P. A. Jordan, purchased his interest in the busi-
ness. The Typographic Advertiser, famous
among printers at home and abroad, was
brought out in 1S55, Mr. MacKellar editing it
for thirty years, when his son, William B. Mac-
Kellar became the editor. Mr. MacKellar sub-
sequently issued the "American Printer," which
which has reached its seventeenth edition. He
has also written, omitting several smaller vol-

THOMAS MACKELLAR.

times, " Rhymes Atween-Times" and "Hymns ' '
and a few metrical psalms, of both of which
two editions have been printed.

Mr. MacKellar is distinguished in business,
financial, philanthropic and religious affairs, to
all of which he has given that force of character
which has characterized his life. He is a doctor
of philosophy. Recently his health has not
been of the best, but he is able in a guarded
way to continue a portion of his business and
general work.

5i

FROM A PHOTOGRAVURE IN CURWEN.

GUTENBERG EXAMINING HIS FIRST PROOF SHEET.

PRINT BY THE GR

MIDDLESEX, ENGLAND, AFTER AN ENGRAVING BY F. BACON FROM THE ORIGINAL PAINTING BY E. H. WEHNERT.

WITH COMPLIMENTS TO "THE PRINTING WORLD.'

I wh.n EXAMINING THE I IRST PROOF-SHEET FROM IMS PRINTING-PRESS IN WESTMINSTER ABBET, A. I). 1474.

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

OTWITHSTAXDIXG t h e
claims to priority made
by the earnest supporters
of Oxford University as
the birthplace of English
printing, the Caxton
press was the undoubted
forerunner of the art in
England, and its products
were the first books executed in that country.
Dr. Middleton, in a valuable dissertation upon
the origin of printing, written in Latin, and pub-
lished at Cambridge in 1735, is said by Hum-
phrey to have effectually disposed of the only
evidence in favor of the first dated book from
the University press (St. Jerome's "Exposicio
in Simbolum Apostolonuji" dated plainly
" Oxonicz, i^68,,)y showing it to have appeared
later than 1468, a date which, says Humphrey,
' ' would not only place it before the earliest
book printed in England by Caxton, but even
before his first book was printed on the Conti-
nent, and only two years after Ulric Zell, the
pupil of Schoiff her, had brought the new art to
Cologne, one of the first towns to which Guten-
berg's system was carried direct from Mayence. ' '
It is not necessary to go over the ground in this
connection ; the tangible evidences in favor of
William Caxton, as the first English printer, are
sufficiently known. The incorrectness of the
date given in the book already mentioned has
been amply pronounced upon by Middleton,
Ducarel, Meerman and Humphrey, the latter of
whom interestingly comments upon the work,
which he had the opportunity of submitting to
a close inspection.

William Caxton, the father of English print-
ing, whose press, ' ' seated in the Almonry of
Westminster, ' ' added its immeasurable impulse
to the diffusion of culture in his age, occupied
a peculiar and pronounced position as a centre
of force from which issued influences that were
destined to advance England to a leading posi-
tion as sponsor for the new art, a position
more commensurate with later and more seem-
ingly progressive periods than that in which he
lived and labored. Out of his office came two
of the best printers of their day, Richard Pyn-
son and Wynkyn de Worde ; while his now
traceable works enable us to go back to the first
beginnings of the Westminster press. Of his
life, Wm. Blades, perhaps the best authority

upon Caxton, prior to his death, says (in the
' ' Pentateuch of Printing " ) :

"William Caxton was not born in 1412, as
nearly all his biographers assert, but about ten
or twelve years later, as we learn from the
records preserved at Mercer's Hall, Cheapside.
His name is there inscribed as having been ap-
prenticed in the year 1438. His birthplace was
somewhere in the Weald of Kent, perhaps at a
place called Caustons, near Hadlow. His father
sent him to school — by no means a usual expe-
rience for lads in the fifteenth century— for
which in his after-age he was deeply grateful.
He was apprenticed at the age of twelve or four-
teen to a wealthy mercer, a fact which, at a time
when class prejudices were very strong, shows
that his family were connected with the mer-
chant princes of London. After a few years his
master, Robert Large, died, and as Caxton's
name, when he issued from his apprenticeship,
does not appear in the mercers' books, there is
little doubt that he went abroad. In 1446, we
find his name mentioned in the town records
preserved at Bruges, where he was considered
sufficient security for a sum equal to no pounds.
In 1453, he paid a visit to London, and took up
his livery in the Mercers' Company. Ten years
later he had raised himself to the highest honor
an English merchant could attain abroad - that
of Governor of the Merchant Adventurers in
the Low Countries. Here he had great respon-
sibilities, and was consulted and employed by
the English Government in various matters
connected with trade in those parts. In 1468,
the Princess Margaret, sister of our Edward IV,
was married to Charles the Bold, Duke of Bur-
gundy, at Bruges. Here Caxton would be
brought into friendly intercourse with the
nobles of the English Court, many of whom
took refuge there when King Edward, in 1470,
was driven from his kingdom. Several treaties
about trade between England and the Burgun-
dian dominions were ratified about the time, in
which Caxton took a leading part. In Bruges
at this period there were magnificent libraries,
consisting almost entirely of illuminated manu-
scripts, and no doubt a few books from the
German presses, which we know were selling at
Paris, were to be had at Bruges also. In these
literary treasure-houses Caxton would be able to
indulge that taste for books which was a promi-
nent feature in his character. He became

33

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

known, and, from some cause which at present
has not been discovered, resigned his post of
Governor and entered into her service. What-
ever were the duties he undertook for the
Duchess, his position was one of honor and
trust, requiring his personal attendance upon
her. Two causes ma}* have influenced Caxton
in retiring from his post of Governor. Reckon-
ing from a lawsuit in which his married daugh-
ter was engaged in 1496, she would then have
been twenty-six years of age, had her father
married in 1469. As a married man he could
not be a merchant in a foreign city, foreigners
abroad as well as in England living a monastic
life. Thus marriage may have been the moving
cause. Added to this, the duties of Governor
compelled him to make fre-
quent journeys to other
cities, and the occupation of
so arduous a post for many
years would naturally make
him wish for relief and
quietude.

" Whatever the cause, his
retirement gave him leisure
to indulge his literary tastes,
and he set to work to trans-
late into English a French
novel, which was then ( 1469 )
much admired in the Bm-
gundian Court. It was a
medley of Roman mythology
mixed with Gothic knight-
errantry and love adventures.
Its title was ' The Recuyell
(collection) of the Histories
of Troy,' and the fact that it
held its place in the popular
esteem for at least two cen-
turies later, shows us that
it stood high in public opinion. After trans-
lating a few sheets, Caxton put it on one side,
but 'on a time,' when conversing with the
Duchess, he showed his attempt to her. This
W3S in 1469. She commanded him at once
to finish the translation, which he appears to
have taken two years to accomplish, continuing
it, as he himself tells us, in Ghent, and finish-
ing it at Cologne. And here it is important to
notice that in both those cities there is no ques-
tion of his learning printing. All he mentions
about himself refers to the translation alone-.
This brings us to 1 172-73. The- m-w book,
patronized by the Duchess and the Court, was

soon in greater demand among the courtiers
than Caxton Could possibly supply by inanu-

WXC

WILLIAM CAXTON, FIRST PRINTER AT

WESTMINSTER, I4IO-I49I.

script. He was tired of so much writing, and
naturally his mind turned to the new art of
printing, specimens of which he had probably
examined. Just at this time Colard Mansion, a
citizen of Bruges, had erected a printing-press in
a large room over the church porch of St.
Donatus, and to him went Caxton. Colard
Mansion set to work, Caxton helping him with
money, and learning at the same time the new
art and mystery. So it was that about 1474-75
the book was completed and a copy presented to
the Duchess.

"This was the turning-point in Caxton's
career ; for although he did not immediately
leave his royal mistress's service, he spent some
time in mastering the new art, and then with a
quantity of newly-cast types
made his way to England.
There seems to have been no
special reason why Caxton
should choose Westminster
as the locality of his print-
ing-office. There was no
Scriptorium in the Abbey,
and the Abbot does not seem
to have held toward him
any other relationship than
that of landlord, leasing to
him a tenement in the Al-
monry, just where the
Guard's Memorial now
stands. Here Caxton settled
down and worked for at
least fifteen years. His first
book which bears a date is
' The Dictes and Sayinges
of the Philosophers, ' finished
in November, 1477. Upon
the strength of this date the
Caxton Ouarcentenary Fes-
tival was held in 1877 ; but there can be no
doubt that he printed man}- books of which no
copies remain, some of which were doubtless
earlier than the ' Dictes.'

"Unlike some of the French and Italian
printers, who ruined themselves by printing
classical books, Caxton began with small pam-
phlets, and short pieces of poetry by Uudgate
and Chaucer. These were soon followed by
books of greater pretence — historical, poetical
and religious. The most imposing book fr< m
Caxton's press was 'The Golden Legend,' a
thick and large folio volume, full of rude wood-
cuts, and narrating the lives of all the saints in
tin English calendar. In translating, editing and
printing, Caxton spent the remaining years of

1471

34

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

his life, and at a ripe old age was buried in St.
Margaret's, Westminster, in the year 1491."
A tablet upon his tomb bears the following :

To the memory of
WlWAM CAXTON,

who first introduced into Great Britain the

Art of Printing;

and who, a.d. 1477 or earlier,

exercised that Art in the Abbey

of Westminster,

This Tablet, in remembrance of

one to whom the literature of

this country is so largely

indebted, was raised

Anno Domini MDCCCXX.,

by the Roxburghe Club,

Karl Spencer, K.G., President.

In thus so extensively quoting CURVV£M-
from Mr. Blades' last work upon
the bibliography of printing, it has been the
intention to yield the results of the latest
research into Caxtonia, and to acquaint the
reader with a most conservative and reliable
view of his career. Few had made as exhaus-
tive investigations into the subject as the author
cited, and if the sketch has seemed unneces-
sarily prolix, it can only be said
that the minutest incident of a life,
to the results of which posterity is
so indebted, has its intrinsic impor-
tance.

Whether William de Machlinia
was a pupil of Caxton's at one
time, as Mr. Blades seems to infer,
or was his rival and contemporary,
as Humphrey distinctly states, it is
certain that Walton's "Speculum
Christiani" which was printed by
de Machlinia, appeared in 1480,
three years later than the first
dated Caxton known. This printer
seems to have had no little reputa-
tion, but it is upon the eminence
and subsequent achievements of
Richard Pynson and Wynkyn de
Worde in the field of printorial art
that posterity rests its judgment as
to the proper successor of the first English
printer. True followers of their master, enthu-
siastic and enterprising devotees of their art,
these erstwhile assistants of Caxton filled his
place with distinctive ability, gaining fame and
esteem, surpassing Caxton in beauty of types
and profusion of illustrative features. Even

though their types were imported, they deserve
credit for the increased attractiveness of their
works. Indeed, it is deemed by Humphrey, in
his " History of the Invention of Printing," as
highly probable that the great part, if not all,
of the type of early English printers, was
imported from Germany, through the Low

HEAD-PIECE OF WILLIAM CAXTON.

Countries, and consequently the engravings
must have been the work of foreign artists,
the engraved blocks being imported at second
hand from the Continent and frequently intro-
duced into English books without the slightest
regard to fitness, either in subject or character.
He further remarks, however, that but little is

I » ¥ W W 9

n*,j,.iimuiuimijikLiir,i

CAXTON S MONOGRAM. F AC-SIMILE FROM HIS WORK.

known upon the subject of a reliable character.
So far as the importation of these woodcuts
is concerned, Mr. Chatto's remarks are worthy
of attention. This authority (in "A Treatise on
Wood-Engraving ' ' ) goes back to Caxton, and
thinks that the cuts in the "Game of Chess"
and the ' ' Mirror of the World ' ' were both

35

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

designed and engraved in England. Caxton's
claim to the merit of ' ' illustrating ' ' these two
books with woodcuts from original designs he

RICHARD PYXSOX. DIED ABOUT I53O.

considers indisputable. He further says, in
contradistinction to what we have noted in
Humphrey : " It has been supposed that most
of the woodcuts which appear in books printed
by Caxton and de Worde were executed abroad,
on the presumption that there were at that
period no professed wood-engravers in Eng-
land." This presumption he weakens if not
totally destroys by showing the coarseness of
the engravings, both in Caxton's and de
Worde 's books, and by stating that anyone who
could handle a graver might have cut them.
He also points to the contemporary ability of
decorators and wood-carvers in England, as
exhibited in churches, manuscripts and car-
vings, etc., as having no little contiguous value
when placed in evidence.

Reverting to our main theme, from which
the foregoing is at best only a very interesting
digression, we find the " Comedies of Terence "
presented as the basis upon which the fame
of Richard Pvnson may be allowed to rest.
This assistant of Caxton's not only transcended
the successes of his "worshipful master" ^<>
called by himself ), but what is better, did so
upon the grounds of greater perfection in com-
position, presswork and illustration of the
printed page. He was the King's Printer, an
appointment doubtless gained by the patronage
of the Lady Margaret, mother of the reigning

monarch, and is said to have utilized the pro-
duct of the graver to greater extent than either
his master or fellow workman, Wynkyn de
Worde, both in the text and on borders to the
page.

Richard Pvnson was a Xorman by birth,
possibly trained in the art in one of the cele-
brated offices at Rouen, whence he ma}' have
come to the establishment of Caxton. His
celebrated work (produced in 1487), mentioned
in the foregoing, is thus spoken of by Hum-
phrey, who reproduces its title-page: "The
argument or general plot of the comedy is
printed in beautiful small type, very regularly
set up ; the division of syllables, when they
occasionally occur, being correct, and the length
of the lines made beautifully even. The large
type of the second argument is a free Gothic or
' black letter,' also very regular. The printer's
device, which appears as a kind of frontispiece
to the volume, consists of his initials in white on
a black shield, surmounted by a helmet and
surrounded by an effective but rather rude
framework of ornamental bordering." This
work appeared while Caxton was living, and it
must have afforded him no little pleasure to see
such excellent technical execution from one
whose development as a printer he himself had
fostered if not actually induced.

The historian above mentioned pronounces
upon the product of his presses as superior in

CURWEN.

MONOGRAM USED KY RICHARD PYNSON.

class to those of Wynkyn de Worde, but not in
fineness of execution. He very significantly
states, however, that several beautiful books

36

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

were executed by Pynson and some very indif-
ferent ones by de Worde.

Wynkyn de Worde, whose name has come
down to the present as one of the foster-fathers
of printing, and who is doubtless much better
known to the general student of typographic
antiquities than his contemporary, Pynson, has
the great distinction of issuing the first book
printed upon paper manufactured in England,
this material being turned out by John Tate's old
mill at Hertford, which was established under
the patronage of Henry VII. His claim to
eminence rests upon a surer basis than this,
however, for he produced works which are note-
worthy advances over those already issued from
the Westminster press of Caxton. Many are
highly artistic if we may judge from the
descriptions and notices given in the writings of
those who have personally studied the incuna-
bula. His edition of De Glanville's " De Pro-
prietatibus Rerum " is cited by Humphrey,
who furnishes the most interesting and valuable
collection of reproductions made from the pages
and titles of the early works of printing up to
the end of the sixteenth century, as one of the
most popular of his books, new editions con-
stant!}- appearing. He furnishes the fac-simile
of the title-page, which is unique enough for the
detailed description that the same writer also
gives: "The title-page is bold and striking,
consisting of very large Gothic letters cut in
intaglio in a block of oak and consequently
remaining white in the printing, while the face
of the block forms a solid black ground, except-
ing where the natural grain of the wood shows
a series of white and irregularly broken lines,
which modify the blackness of the ground in a
very pleasing manner. ' '

Printing in England, subsequent to Pynson
and de Worde, passed through many hands, and
it is scarcely necessary to give more than cur-
sory mention to those who kept the art alive,
added to its development, or possibly inculcated
new features of character into its expanding in-
dividuality. Julian Notary, an early printer,
whose office was in Westminster toward the end
of the fifteenth century; William Faques, prob-
ably one of the skilled printers of Rouen, and a
Norman by birth, and who is eminent for his
Hertford Missal; Peter Treverius, who followed
the art a little after the time of Pynson and de
Worde, and whose edition of the ' ' Polychroni-
con ' ' is said by Humphrey to exhibit what is
perhaps the first example in the annals of Eng-
lish printing of a true title-page in the present
acceptation of the term, are some of the notables

of their eras. English printing became diffusive
and English printers increased greatly in num-
ber ; there is neither need nor advantage in
classifying the genealogy of the art at this time
until the period of Richard Grafton, the first
era-making printer since the days of Caxton.
At this time printing becomes especially note-
worthy because of certain ecclesiastical happen-
ings with which it necessarily became connected.
Richard Grafton deserves the honor of first
printing the English Bible, which was issued in
1537, under the authority of the State. To this
work he contributed of his capital or skill, and
his fine folio Bible, issued in 1530-41, and known

1493

?JLC

CURWEN. FROM A DRAWING BY FATHORNE.

WYNKYN DE WORDE, I493-I534, SECOND PRINTER AT
WESTMINSTER.

at the present as Cranmer's Bible (or the Great
Bible ) , added to a reputation which he has kept
until the present as one of the most eminent
contributors to the array of books which now
constitute our typographic incunabula. Hum-
phrey calls the title-page of this latter work
perhaps the noblest work of its kind that the
designers' and engravers' art had produced up
to that period. It is said to have been designed
by Holbein, who is accredited with numerous
works of the period. Grafton's ' ' Booke of Com-
mon Praier, " as he designates it in the first part

37

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

of the title, was doubtless the work which made
him best known; this book was issued in 1549.

After Grafton little of importance enters the
scope of the reviewer until the time of John
Dave. There are a few others, however, whose
names deserve mention. Briefly noting the
names of Petit, Herforde, and others more or

" English Plantin," from the diversity of his
types, etc., and the character of his works, lent
an impulse to printing, the records of which
have endured up to the present time. His
offices were very large and were located in
Aldersgate. He was the first printer to make
use of Saxon characters, and he greatly im-

rHE COSMOGRAPHICAL GLASSE.

PRINTED BY JOHN DAYE,

INITIALS USED 11V DAYE.

less prominent in the annals of English print-
ing, we find the name of Wolfe, who was the
printer of King Henry VIII. toward the end of
the sixteenth century. He was an enterprising
and progressive printer. Up to John Daye there
was nothing especially deserving of mention
that was accomplished in the- art, but this printer,
who goes under the pleasant pseudonym of the

proved the Greek types, as well as the italic.
The typographical historian, Humphrey, who
mentions the foregoing and who offers several
lac-similes from his books, speaks of "The
Cosmographical (Masse" as one of his finest
works; it was printed throughout entirely in fine
italic and embellished with numerous woodcuts.
The page of initials shown in this connection

38

BIRTH AND YOUTH OF ENGLISH PRINTING: FROM CAXTON TO DAYE.

are from Chatto, who has reproduced them from
this work, and who thinks it likely that Daye
himself engraved them. The full title of the
book is "The Cosmographical Glasse, contein-
yng the Pleasant Principles of Cosmographie,
Hydrographie or Navigation. Compiled by
William Cunningham, Doctor in Physicke.
Excusam Londini in officini Joan. Daii, Anno
1559-

" In this Glasse, if 3-011 will beholde
The starry skie and yearth so wide,

The seas also, with the windes so colde,
Yea, and thyselfe all these to guide:

What this Type mean first learne a right,
So shall the gayue thy travaill quight."

Chatto says that of all the works printed in
England in the reigns of Queen Mary and Queen

Elizabeth,
those coming
from the press
of John Daye
generally con-
tain the most
finely executed
woodcuts; and
even though
he might not
have been the
engraver of
the woodcuts
which adorn
his initials, yet
itshouldnotbe
doubted that
he possessed a
much better
taste in such
matters than

RICHARD GRAFTON, FIRST PRINTER other English
OF COMMON PRAYER. . . ? ■, •

printers 01 his
age. Some of the large ornamental letters are
much superior to anything of the kind previ-
ously executed in England. Another work
issued by Grafton, and one upon which his
reputation maybe said to rest, is "Fox's Acts
and Monuments," issued in 1562, and containing
very fine woodcuts.

The death of this printer in 1583 afforded the
epitaphist opportunity to write the following
punning inscription:

"Here lyes the Daye that darkness could not blinde,
When Popish fogges had overcast the sunne ;

This Daye the cruell nighte did leave behinde,
To view and shew what blodi actes were donne.

He set a Fox to wright how martyrs runne
By death to lyfe. Fox ventured paynes and health

To give them light. Daye spent in print his weal
But God with gayne returned his wealth agayn

And gave to him as he gave to the poore.
Two wyves he had, partakers of his payne,

CURWEN.

RAYNE WOLFE, PAUL'S CHURCHYARD.
VIII. "S PRINTER.

KING HENRY

Fach wyve twelve babes, and each of them one more ;

Alice was the last increaser of his store,
Who, mourning, long for being left alone,

Set up this tombe, herself turned to a stone."

We find this same tendency to play upon his
name in the mark which he adopted, his device

JOHN DAYE,

-1584.

being a " cupid waking a sleeping person, and
pointing to the rising sun, with the motto,
'Arise, for it is Dave.' "

H. M. D.

39

A DISTINGUISHED KARI,Y PRINTER.

FAC-SIMILE OF THE GILLESPIE MINIATURE OF BENJAMIN FRANKLIN.

PIONEER PRINTERS OF AMERICA.

N reminiscence there is a
charm which cannot be
analyzed or defined. In
a personal sense, when
applied to reminiscences
of events in onr own lives,
we can explain it. It is
the memory of youth, of
the freshness and zest of early life, when there
were no limitations to enthusiasm and hope,
when castles in Spain were yours for the
bidding, and the future was almost a present
possession. Printers, as a class, love remi-
niscence. Do you not remember, my printer
readers, the visit of the old-time tramp printer,
who first enquired for the foreman, and then
modestly asked to be permitted to ' ' sub ' ' for
the price of a supper and lodging? And how
he requested, as a matter of economy, the privi-
lege of sleeping on the bundles of paper in the
office in preference to going to the tavern — a
request always granted without hesitation, for
the personal honest}- of the old-time wandering
printer was as sterling as the coin of the realm.
And after supper, the foreman, the compositors
and the apprentice, and quite often the editor
himself, came down town to the office, and
through the clouds of smoke, listened to the
wanderer's reminiscences of the early printers;
of his intimacies with Horace Greeley, George
D. Prentiss, Wilbur F. Story, and other of the
journalistic giants of those days; often exagge-
rated and extravagant narratives, but possessing
a charm which ever)- one by his close attention
acknowledged.

The history of the struggles of the pioneer
printers of America is rich in interesting rem-
iniscence. It is impossible to write the briefest
review of early printing in America without
recognizing the dominating influence of the
immortal Franklin. The art of printing cannot
be said to have made material progress in Frank-
lin's time; the finer processes of presswork and
engraving were scarcely known; the implements
of the craft were clumsy and slow; but Franklin
and his contemporaries were laying the founda-
tions deep and strong. As a mere craftsman,
Franklin was probably no more skilful than his
contemporaries, but as a writer and journalist,
he towered above them all. Indeed, it is doubt-
ful whether there is any name in American let-
ters, past or present, which has approached his

fame, or which gives such promise of immor-
tality. Of " Franklin's Autobiography," James
Parton, the historian, says:

"Of this fragment of autobiography I have
sometimes been impudent enough to say that it
is the only piece of writing yet produced on the
continent of America which is likely to be gen-
erally known two centuries hence."

This treasure of autobiography holds its charm
through all generations. It is a book that should
be placed in the hands of every youth above the
age of fifteen years. It is too virile, too suggest-
ive, too frank and outspoken on delicate sub-
jects, to be placed in the hands of children of
tender age. The lessons it teaches are wise and
helpful, and they cannot but prove beneficial to
manly and ambitious boys.

Every page of the autobiography is rich in
reminiscence — graphic in description of the
Philadelphia of a century and a half ago. As
you read, you seem to live in those heroic days,
and you seem to find yourself following in the
daily paths trod by the young printer. No wonder
that the personality of Franklin seems to fill all
Philadelphia to this very day, eclipsing even the
fame of that other noble citizen, William Penn.

The first writer to attempt an authentic his-
tory of printing in America was Isaiah Thomas,
of Worcester, Massachu setts. * Thomas was a
progressive printer and an enthusiastic lover of
his art. In the preface to his history he says it
took seven years to complete the work. In this
preface he discusses the difficulties of tracing
the origin of the printers' art, and in one para-
graph he speaks of the invention of printing as
follows :

"Whatever obscurity may rest upon the
origin of printing, the invention has happily
been the means of effectually perpetuating the
discovery of all other arts and of disseminating
the principles by which the}* are accomplished.
It is, therefore, considered the most important
of them all."

Mr. Thomas supplements his own fine tribute
to the art of printing by the following quota-
tion from a distinguished French writer, M. de
Condorcet:

' ' Printing has been applied to so many sub-
jects; books have so rapidly increased; they
have been so admirably adapted to every taste;

* "A History of Printing in America," 2 volumes, by
Isaiah Thomas, Printer, Worcester, Massachusetts, iSic.

41

PIONEER PRINTERS OF AMERICA.

every degree of information, and every situa-
tion of life; they afforded so easy, and frequently
so delightful an instruction; they have opened
so many doors to truth, which it is impossible
ever to close again, that there is no longer a
class or profession of mankind from which the
light of knowledge can absolutely be excluded.
Accordingly, though there may still remain a
multitude of individuals condemned to a forced
or voluntary ignorance, yet the barrier between
the enlightened and unenlightened proportion
of mankind is nearly effaced, and an insensible
gradation occupies the space which separated
the two extremes of genius and stupidity."

It is quite probable that the printing-press
was in use in Mexico in less than a century
after the art became known in Europe. In 1540,
probably, the first book was printed in the City
of Mexico, by Juan Cromberger, who died in
1544, and who was perhaps the first printer on
the American continent.

Thomas' " History of Printing " and all other
authorities agree that to Rev. Jesse Glover, of
Cambridge, Mass., is due the credit of bringing
the first printing-press to the United States.
Mr. Glover purchased this press in London,
together with a quantity of type, but he died on
shipboard. On its arrival the press was set up
by Stephen Dave, in 1639. The first job of print-
ing on this press were copies of the Freeman's
Oath, the oath of allegiance prescribed for free-
men by the colonial authorities of Massachu-
setts. Mr. Thomas says in his history that " the
fathers of Massachusetts kept a watchful eye on
the press ; and in neither a religious nor civil
point of view were they disposed to give it
much liberty. Both the civil and ecclesiastical
rulers were fearful that if it was not under
wholesome restraint contentions and heresies
would rise among the people. In 1662, the
Government of Massachusetts appointed li-
censers of the press, and in 1664 a law passed
that no printing should be allowed within the
jurisdiction, except in Cambridge, nor should
anything be printed there but what the Govern-
ment permitted through the agency of those
persons who were empowered for the purpose.
Offenders against this regulation forfeited their
ses to the country and were disfranchised of
the privilege of printing thereafter. After-
ward, this permission was extended to Boston."

Stephen Have was succeeded by Samuel

Green, who had as an apprentice an Indian

boy. who had been educated at the charity

'»1 of Cambridge. This Indian hoy was

called James, and he went by the name of

James Printer. This boy was apprenticed to
Green in 1659, and he rendered valuable aid
in the composition of a Psalter, in 1709, in the
Indian and English languages.

One of the early printers of Boston was
Thomas Fleet, who owned several negro slaves.
One of these negroes he taught to set type, and
one became an artist, who made woodcuts for
children's books, of which Fleet was the princi-
pal publisher. Fleet became the publisher of
the Weekly Rehearsal, the name of which he
changed to the Boston Evening Post, in 1735.
In August, 1742, Mr. Fleet being desirous of
disposing of some surplus property, inserted
the following advertisement :

" To be Sold— by the Printer of this Paper,
the very best negro woman in this town, who
has had the smallpox and the measles, is as
heavy as a horse, as brisk as a bird, and will
work like a beaver. ' '

The first American newspaper was published
at Boston, September 25, 1690. It was named
Public Occurrences, both foreign and domestic.
It was a sheet of four pages, each page seven
inches wide and eleven inches long, two columns
to the page, and the last page blank. The pros-
pectus of this pioneer newspaper is something
unique, and the writer reproduces it for the
benefit of those who contemplate the issue of
newspapers designed especially to promote the
dissemination of truth and the reform of abuses :

"It is designed that the country shall be
furnished once a month ( or if any glut of occur-
rences happen, oftener ) with an account of such
considerable things as have arrived unto our
notice.

"In order hereunto the Publisher will take
what pains he can to obtain a faithful relation
of all such things, and will particularly make
himself beholden to such persons in Boston
whom he knows to have been for their own use
the diligent observers of such matters.

" That which is herein proposed is, First: That
memorable occurrents of Divine Providence may
not be neglected or forgotten, as they too often
are. Secondly: That people everywhere may
better understand the circumstances of Pub-
lique Affairs, both abroad and at home, which
may not only direct their thoughts at all times, but
at sometimes also toassist their business and nego-
tiations. Thirdly: That something may la- done
toward the curing, or at least the changing of the
spirit of lying which prevails among us, where-
fore nothing shall be entered but what we have
reason to believe is true, repairing to the best

PIONEER PRINTERS OF AMERICA.

fountains for our information. And when there
appears any material mistake in anything that
is collected it shall be corrected in the next.

"Moreover, the publisher of these Occur-
rences is willing to engage, that whereas there
are many false reports, maliciously made
and spread among us, if any well-minded per-
sons will be at the pains to trace any such false
report, so far as to find out and convict the first
raiser of it, he will in this paper i iinless just
advice be given to the contrary i expose the name
of such person as a malicious raiser of a false
report. It is supposed that none will dislike
this proposal but such as intend to be guilty of
so villainous a crime."

Although this paper contained but a few
news items of a trifling character, the colonial
authorities declared
it was published con-
trary to law and ' ' con-
tained reflections of a
very high nature,"
and they suppressed
it. The "reflections"
objected to were in the
prospectus, wherefore
it died with the first
issue.

Those in authority,
both in America and
in England, evidently
dreaded the influence
of the early press, and
they threw many se-
rious obstacles in the
path of the pioneer
printers. During 1663,
John Gwyn, a printer
of London, for merelv
printing a pamphlet of
which he was not the
author, and which mildly criticised King
Charles the Second, was sentenced by Chief
Justice Hyde " to be hanged by the neck; while
still alive to be cut down, disemboweled and
his entrails to be burned before his eyes, head
cut off and head and quarters to be disposed of
at the pleasure of the King's Majesty," which
awful sentence was duly executed. In 1 7 19, John
Mathews, a London youth, was executed for
publishing a mildly seditious pamphlet. Al-
though no printer suffered afterward as John
Gwyn for sixty years following, it was common
in England to crop the ears of printers and edi-
tors and put them in the stocks and pillory.

Tn 1692, there was a quarrel among the Qua-

PHOTO BY GUTEKUNST

EXJAMIX FRAXKLIX

kers of Philadelphia, in which Wm. Bradford, a
Philadelphia printer, became involved. For
printing a pamphlet touching upon the contro-
versy, Bradford was imprisoned about four
months before his case came to final trial. In
examining the type-form from which the pam-
phlet was printed, one of the jurors pied the
form, and the prosecution collapsed for want of
evidence.

In 1721, James Franklin, brother of Benjamin
Franklin, was imprisoned a month for certain
mildly offensive publications in the ^Ye:e Eng-
land Courant.

These incidents disclose some of the difficul-
ties with which the early printers and editors
had to contend. They also disclose the influ-
ence of these pioneer printers in breaking down
the barriers to liberty
which kings and petty
rulers had imposed.
As a general rule these
early printers were al-
so courageous patriots,
and the few news-
papers in existence
in America vigorously
antagonized the pass-
age of the Stamp Act
and other oppressive
measures of the British
Government, which
led to the rebellion of
the Colonies.

The first newspaper
issued in America suc-
ceeding the suppres-
sion of Public Occur-
rences in 1690, was the
Boston News Letter, of
which John Campbell,
postmaster of Boston,
was the publisher, and the first issue was dated
April 24, 1704. The Boston Gazette was the
second, and it was first issued December 21, 17 19.
The American Weekly Mercury was established
by Andrew Bradford at Philadelphia, December
22, 1719. The fourth paper to be issued in
America was the New England Couraut, estab-
lished by James Franklin, August 21, 1721.

In 1717, James Franklin returned from Eng-
land with press and type and set up as a
printer in Boston. The year following, Ben-
jamin Franklin, at the age of twelve years,
signed indentures of apprenticeship, to remain
in force until his majority. In 1721, James
Franklin started the New England Courant.

IATLTKE OWNED BY MRS. GILLESPIE .

■±3

PIONEER PRINTERS OF AMERICA.

Benjamin Franklin, in his autobiography, says : trade, although in his later years he had been

"I remember his being dissuaded by some of engaged in philosophical studies and had be-

his friends from the undertaking, as not likely come the first philosopher and statesman of his

to succeed, one newspaper being, in their judg- age, having an ample fortune to maintain him-

ment, enough for America." self in comfort, without the necessity of engag-

Xo more likely an apprentice than Benjamin ing in business or professional work. Two years

Franklin ever entered a printing-office. Frank- before his death, the printers of Philadelphia

lin was only fifteen years of age when his held regular meetings in his house to discuss

brother started the New England Courant, and subjects of interest to the craft, and this at the

he not only carried the paper to its patrons, but request of the great man whose bodily infirmi-

he wrote editorials for its columns which stirred ties would not permit his leaving his home. At

up all Boston. The paper was a free-lance, these meetings Franklin took part in the dis-

which, among other things, opposed inoculation cussions, and was glad to impart to the humble

for smallpox, and severely criticised the author- craftsmen the benefit of his sage counsel and

ities and the clergy. Two years after the paper advice.

was started, in 1723, Franklin revolted from the Franklin died April 19, 1790, aged eighty-five

intolerable abuse and mistreatment of his elder years. Long before his death he wrote his own

brother, and went to New York to pursue his epitaph, as follows:

vocation. Not finding his opportunity there, he Tl B d * f

came to Philadelphia and entered the emplov- -„ • • -~ , ,"• n . ,

F . \ - Benjamin Franklin, Printer,

ment of Thomas Keimer, whose outfit consisted , T M ,, c -, -. , ,

' (Like the cover of an old book,

of an old and shattered press and one small, Itg contents wom out>

worn-out font of type. The only other printer And stri of .^ letteri and ^ldi }

in Philadelphia at the time was Andrew Brad- Lieg herCj food for wQrms ,

ford. Bradford established the American Yet the work itself shall not be lost,

Weekly Mercury at Philadelphia, December For ft ^ ^ ^ believed|

22, 1719, which was the first newspaper in the A ^ Qnce mQre

colonv. In 1728, Keimer established the Penn- T_

, 111 a new

sylvama Gazette, but being unsuccessful, he And more beautiful edition,

sold the paper to Franklin, who had several Corrected and amended

years before left his employ and was engaged in ^> r :t Author
business for himself. The Gazette was a great

success under Franklin's management, and from A type-foundry, principally for Gothic or

the time of its acquisition his fame and fortune German types, was established at Germantown,

grew. As characteristic of his independence Pa., several years before the revolutionary war

and courage Franklin relates an incident in his by Christopher Sower, who printed the Bible

autobiography of his treatment of a person who and other works in the German language. Soon

insisted on the publication of an offensive com- after the revolutionary war, John Baine, a type-

munication in his paper. After considering the founder of Edinburgh, came over and estab-

subject, Franklin addressed a note to the writer: lished at Philadelphia the first regular tvpe-

"I have perused your piece and find it to foundry in the United States,

be scurrilous and defamatory. To determine Coggesholl's " Newspaper Record " gives the

whether I should publish it or not, I went home following chronology of the introduction of the

in the evening, purchased a twopenny loaf at printing-press in different places in the United

the baker's, and with water from the pump, States, from 1709 to 1762:

made my supper. I then wrapped myself up in Xt.w Lomloil< Conn I709

my greatcoat and laid down on the floor and Annapolis, Md 1726

slept until morning, when on another loaf and Williamsburg, Va 1729

mug of water I made my breakfast. From this Charlotte, S. C 1730

T , . . * . . . Newport, R. I .732

regimen I feel no inconvenience whatever. woodbridge x j ... 1752

Finding I ran live in this manner, I have Newbern, x. C 1755

formed a determination never to prostitute my Portsmouth, x. 11 1756

press to the purposes of corruption and abuse of savannah, Ga 17 2

this kind, for the sake of gaining a more com- The first printing-press in the Northwest ter-

fortable subsistence." ritory was operated by William Maxwell, at

Franklin never lost interest in the printer's Cincinnati, in 1793. The first printing west of

PIONEER PRINTERS OF AMERICA.

the Mississippi was at St. Louis, in 1808, by
Jacob Hinkle.

Ringwalt's "Encyclopedia of Printing"
says there was a printing-press in Kentucky in
1786, one in Michigan in 1809, and one in Mis-
sissippi in 1 8 10. Louisiana had a press imme-
diately after its acquisition by the United States,
and printing was done in Canada before the
separation of the American colonies from the
mother country. Halifax had a press in 1 75 r ,
and Quebec in 1764.

In his "History of Printing in America," Mr.
Thomas says that in 1800 there were at least

the world surpass in skill the American printers
in all branches of the arts printorial. In the
making of books and periodicals, and especially
of newspapers, the American printers lead the
world and set the pace. Since Franklin's time
the liberty of the press has been established on
sure foundations, and the press itself has be-
come in America the great conservator of liberty
and law. Instead of being under the censorship
of arbitrary rulers, as in Franklin's time, the
press is itself the censor whose power every
man in authority is compelled to respect, and
which no thoroughly honest and just man fears.

£/&sscy/*&y/£$x&/G. C&./WMA

*PHED SPECIALLY 8Y F. GUTEKUNST.

GRAVE OF BENJAMIN FRANKLIN AND WIFE, IN CHRIST'S CHURCH BURYING-GROUND, PHILADELPHIA.

150 newspapers in the United States. Those
published before 1775 were weekly papers.
Soon after the close of the revolutionary war,
daily papers were printed at Philadelphia and
New York, and in 1810 there were more than
twenty daily newspapers in the United States.

The progress and development of the print-
er's art, since the early struggles of Franklin
and his contemporaries, is part of the proud
history of the American Republic. In no coun-
try of the globe has the art attained a higher
degree of perfection, and no class of artisans in

It is a factor of overwhelming importance in the
diffusion of those influences which make for
government, social order and reform.

The student who will dig for facts amidst the
dusty records of those early days, when men
made sacrifices for their principles, will be well
repaid for his trouble; no other domain of his-
torical research is so fertile with the testimony
which will support his reverence and affection
for the art of printing in America, and its pio-
neer sponsors. Nowhere will he find a monu-
ment so magnificent and enduring.

S. R. Davis.

45

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

ITY of "Brotherly Love."
surnamed the ' ' Quaker
City." Philadelphia stands
as the cynosure of neigh-
boring eyes, her dignified
and honored place among
the urban centres of a
remarkable nation being
the result of distinguished achievement in
times of the nation's peril. For 117 years the
capital of her state ; long the first city of the
United States in commercial, industrial and
social prestige, she has been the recipient of
honors the most exalted and enduring. Learned
bodies have centralized their executive sessions
within her environs; eminent legislators have
lifted their voices for the national independ-
ence within her halls; and the very conditions
upon which the original states upraised them-
selves from a British yoke were generated and
set into operation in one of her venerable
edifices. But she has done more than this.
She has been a benefactor to that art whose
diffusion of culture and learning among the
peoples of the world has kept alive the thought
and wisdom of the ages past in the product of
the printing-press. It was in Philadelphia that
one of the first printing-presses in the colonies
was set up. as early as 16S5, while to the achieve-
ments of her most eminent printer, Benjamin
Franklin, was due the reputation gained for the
earlv country in the arts and sciences. It was
in Philadelphia, moreover, that the third news-
paper established in America was started by
Andrew Bradford, December 22, 1719, under the
title of the American Weekly Mercury.

These facts, all of which need but little
elaboration to those familiar with the history of
their country, tend to surround Philadelphia
with a peculiar attractiveness, and lend to her
early institutions, many of which are affection-
ately cherished among her revered memorials, a
deep and abiding interest. It is to these relics
that her inhabitants point with pride, and while
displaying to their guests a hospitality for which
she has been proverbial, exhibit the institutions
of their historic city as worthy of the first
attention.

The delegates to the United TypotheUe of
America, in its annual convention, will find in
the following brief citation of date and incident
some of the most noteworthv occurrences in

the history of Philadelphia, not told with a
view to chronicling the episode, but to illus-
trating the features of interest which await the
inspection of the visiting guest. If a slight
addition be made to their knowledge of our city,
and their pleasurable recollection of the present
convention be increased in times to come, the
object of the essayist will have been f un-
accomplished. To older Philadelphia then let
us invite your attention.

If we were to go back to the aborigines of
America, and to delineate the habits and con-
ditions of the primitive residents of a locality
which now teems with the marks of a com-
mercial people, we should perhaps find some-
thing worthy of our research, and if we were to
scan the records of that era when our fore-
fathers became the disturbing element of these
simple peoples, something worthy of a blush;
for this latter portion of the history, not alone
of Philadelphia, but of the entire country we
inhabit, is a synopsis of "occupation, usurpa-
tion, exile and extinction." That this has not
been true of Philadelphia since the memorable

THE PEN.V TREATY STONE. MARKING THE TRADI-
TIONAL LOCALITY OF TENNS TREATY
WITH THE INDIANS.

47

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

treaty of William Penn was made with the Indian
occupants of the land is no small tribute to her
early settlers, provided we accept it as true.

The idea conveyed by William Penn in the
graphic picture which he drew of the times, and
which has been preserved in Watson's ' ' Annals, ' '
Vol. II, will enable us to better understand the
nature of the Pennsylvania Indian tribes, the
personnel of whom he thus describes:

" But in liberality they excel; nothing is too
good for their friend; give them a fine gun,
coat or other thing, it ma}* pass twenty hands
before it sticks; light of heart, strong affections,
but soon spent. The most merry creatures that
live, feast and dance
perpetually ; they
never have much, or
want much ; wealth
circulateth like the
blood ; all parts par-
take, and though
shall want what an-
other have, yet exact
observers of property.
They care for little
because they want
but little, and the
reason is, a little con-
tents them. In this
they are sufficiently
revenged on us : if
they are ignorant of
our pleasures, they
are also free from our
pains. We sweat and
toil to live ; their
pleasure feeds them,
I mean their hunt-
ing, fishing and fowl-
ing; and their table is
spread everywhere."

It was with these people that William Penn
had himself to do, and with them he arranged
for mutual peace, protection and brotherhood.

Prior, however, to the founder of Pennsyl-
vania, those indefatigable explorers, the early
Dutch, had visited the vicinity of Philadelphia
as early as i6rr, and it is presumed that one of
them, Captain Hendrikson, discovered the em-
bouchere of the Schuylkill. A few years later,
in 1623, a vessel under the command of Captain
Meyand Adriaen Jorris — or. Jorrison — Tienpoint,
chartered for the West India Company, was sent
to Niew Amsterdam | New York i, leaving some
passengers, and entering the Delaware at the
point called Prince Hendrick's River, sailed up

ENGRAVED BY JOHN SARTAII
FROM THE ORIGINAL Bl

WILLIAM PENN.

to Gloucester Point, or near that locality,
where they erected a log fort called Fort Nassau.
This primitive settlement, abandoned in 1624,
was named by the Indians, Arwanus, being
known to the early Philadelphians at a later
date as Pine Point. Several other attempts
were made by the people of this tenacious na-
tion to effect permanent settlements in the
locality, one of which came to great grief
through the injudicious conduct of the com-
mandant, being exterminated by the friends of
a chief whose death he had caused for an un-
witting theft. In 1633, however, Wouter van
Twiller sent Arent Corssen to Fort Nassau,
which he occupied,
effecting a purchase
of "the Schuylkill
and adjoining lands
for certain cargoes. ' '
Here a fort was
erected, named Fort
Beversrede, which
with its environs is
supposed to have oc-
cupied that portion
of Philadelphia now
known as Passyunk.
In the Philadel-
phia Library is a
pamphlet, said to be
the only one in the
United States, pur-
porting to be a de-
scription o f Ne w
Albion in North Vir-
ginia, and written
by ' ' The Prince of
New Albion;" it was
printed in 1648. This
settlement was al-
leged to have been
established on the Delaware or in its vicinity by
members of the ' ' Order of the Albion Knights
of the Conversion of the TwTenty-three Kings,"
but is regarded as apocryphal. There are some
reasons, however, for believing the credibility
of the document.

While the Dutch were making efforts to
effect colonial settlements in America, the atten-
tion of other nations was being attracted to the
same promising locality, and the formation of a
Swedish West India Company, with a grant
from King Gustavus Adolphus, resulted in an
expedition, sent in 1638, to Jamestown, whence
it sailed up the Delaware and built Fort Chris-
tina, near Wilmington. These Swedish settlers,

PHOTO BY GUTEKUNST.

|8

THE PENN COTTAGE (LETITIA HOUSE), FORMERLY OX LETITIA STREET. FIRST BRICK BUILDING, 16S2-3.

OLDEST BUILDING STANDING IN THE STATE. JUST PAST THE ENTRANCE OF

THE LANSDOWNE DRIVE. WEST FAIRMOUNT PARK.

OLD SWEDES' CHURCH (GLORIA DEl), SWANSON STREET, BELOW CHRISTIAN. BUILT IN IJOO, SUCCEEDING

A LOG STRUCTURE DATING FROM 1677.

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY,

under the support of a man-of-war and tender,
succeeded in effecting their purpose, and de-
spite the opposition of the Dutch, who bitterly
antagonized their efforts, enlarged their terri-
tory by purchase from the Indians, even en-
croaching upon that occupied by the Dutch.
Not only so, but Swedish citizens were given
grants by the Government, one made in 1653
giving to Lieutenant Swen Schute a tract of
land on both sides of the Schuylkill and a part
of the site afterward comprised in the town-
ships of Passyunk and Kingsessing.

Ultimately, the encroachments of the Swedes
aroused the open opposition of the Dutch and
hostilities resulted in the dispossession of the
former from the latter 's territory ; they effected
other settlements, however, in the same locality.

THE INDEPENDENCE BELL.

It seems strange, in view of the latter develop-
ments and ownership of Philadelphia, to find a
grant of land given by the Dutch Governor and
ratified by William Penn, which occurred in the
locality of Passyunk. Another grant was also
made of that land afterward known as the
Wicacoa of the Swedes, and which extended to
South Street as we now know it. Here Old
Swedes' Church {Gloria Dei) was afterward
built.

The conquest of the- English, commencing in
1664, soon placed the territory in their hands,
and the treaty of February 19, 1674, effectually
terminated the influence of the Dutch in these
parts. Settlement was encouraged in the Dela-
ware region, and on June 21, 1681, the proclama-
tion was issued :

" To ye severall Justices of ye Peace, Magis-
trates ami other Officers inhabiting within ye
bounds and limits above mentioned, now called

Pennsylvania," wmerein the grant to William
Penn of a tract of land in America, bounded
east by the Delaware River from twelve miles
northward of the town of Newcastle, was an-
nounced, and the appointment of William Mark-
ham as Deputy Governor was confirmed, to
whom the justices, etc., were in future to render
obedience. The subsequent means taken by
Penn to add to his possessions, and the names of
those who sailed with him in the ship Welcome,
are matters of common history.

Prior to the departure of the Welcome for the
New World, and in accordance with instruction
given by William Penn, Lieutenant-Governor
Markham caused the survey of the inchoate city
of Philadelphia to be taken, the title of the tract
of 10,000 acres being supposedly copied from the
Philadelphia in Lydia, Asia Minor, where one
of the seven earliest churches was established,
and the name of which signified " Brotherly
Ivove." The streets of the new city were as
different in designation as in appearance from
what they now are, and hence we find our pres-
ent Vine Street known as Valley Street, because
of a ravine there located, while Songhurst Street,
named after John Songhurst, is now known as
Race Street. In like manner, Arch Street was
originally termed Holme Street, after Thomas
Holme, and subsequently Mulberry Street; the
Market Street of to-day was High Street; Chest-
nut Street, originally spelled without the "t,"
our forefathers called Wynne Street; and Wal-
nut Street was known as Pool Street. Spruce
Street was Dock Street, and Sixth Street was
Sumach Street. The boundaries of the city at
this time were Vine Street on the north, and
South Street on the south. The city thus com-
prised two miles from west to east, and one mile
from north to south. The residences were prin-
cipally upon Front Street, and the business
localities likewise, and, in the interesting illus-
tration which appears in connection with the
present sketch showing Philadelphia as it was
200 years ago, this fact will be amply evidenced.

The first Provisional Council met in Phila-
delphia in 1683, and the freemen who were
invited to attend an Assembly for the purpose
of electing members to the Council, met two
days later, in Old Swedes' Church it is presumed.
Penn's Cottage in Letitia Street, a view of which
is given, furnished the place of meeting for later
Councils.

In a very interesting pamphlet, entitled "A
Further Account of the Province of Pennsylva-
nia and its Improvements, for the satisfaction of
those who are Adventurers, or inclined to be

50

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

so," and which is said to be extremely rare,
William Perm himself thus speaks of the Phila-
delphia of the time :

" Philadelphia, and our intended metropolis,
as I formerly wrote, is two miles long and a
mile broad, and at each end of it lies that mile
upon a navigable river : the situation is high
and dry, and yet replenished with running
streams. Besides the High Street, that runs in
the middle, from river to river, and is ioo feet
broad, it has eight streets more that run the
same across, and the least of which is fifty feet
in breadth. And besides Broad Street, which
crosseth the town in the
middle, and is also ioo
feet wide, there are
twenty streets more that
run the same across, and
are also fifty feet broad.
The names of these
streets are mostly taken
from the things that
spontaneously grow in
the country."

About this period
appeared a pamphlet
printed by one Thomas
Budd,and not long after-
ward William Bradford,
the first printer in the
city, executed an alma-
nac alleged to have been
the first printed book of
the province. The His-
torical Society of Penn-
sylvania owns a copy of
this rare remain.

Shortly subsequent,
William Bradford and
William Rittenhauseu,
in company with other
Philadelphians, erected

the first paper-mill built in America, near Ger-
mantown, and it is mentioned as a matter of
interest by a recent historian that Rittenhauseu
and Bradford "made proposals at this time to
print the Holy Bible in English, which were, so
far as is known, the first of such proposals made
in America, their date being the first day of the
first month, 1687-9, at this city, and were made
on the Half- Year's Meeting of the Friends, held
at Burlington, the third day of the first month,
[687 s. A copy of the unique proposal is now
in the Philadelphia Library."

While the infant province of Philadelphia
was progressing toward prosperity and influences

ORIGINAL BUILDING, BANK OF NORTH AMERICA.
OLDEST HANK IN AMERICA.

were being germinated which would ultimately
result in a great city, the founder of Pennsyl-
vania wTas becoming an object of disfavor with
the English Government, and was finally dis-
possessed of his province, Governor Benjamin
Fletcher of New York being commissioned to
assume charge under the title of " Captain,
General, and Governor-in-Chief of the Province
of New York, the Province of Pennsylvania,
and the Province of Newcastle." This docu-
ment was read in the market-place at Phila-
delphia, April 26, 1693, and gave no little dis-
satisfaction to Penn's adherents. Later in the
same year, however, the
accusation of disaffec-
tion brought against
William Penn was dis-
missed, and he was rein-
stated in the favor of the
king; he was officially
restored to his rights as
Proprietary of the Prov-
ince, August, 1694.

In 1 71 2, William Penn
died at his English
residence in Bucking-
hamshire, of a stroke
of apoplexy, now having
become so embarrassed
in a financial sense as
to have contemplated
transferring his interest
in Pennsylvania to the
crown for £ 12, 000, which
was prevented by his
decease. Says a recent
writer : ' ' Eulogies of
William Penn have been
written con a > no it and
it is needless for us to
add another to the list.
But it is an unquestion-
able fact that the personnel of this remarkable
man, as well as his extraordinary intellect, his
purity of character, and vast administrative
power, with his formative characteristics, being
built upon by his successors, have rendered
Pennsylvania the Keystone State of the Union,
and made Philadelphia the worthy cradle of
American liberty. Of him it may be worthily
said, ' If you seek his monument, look around
you' (Si monumentum quarts circumspice)."
Passing by many more or less important civic
happenings, we find the early beginnings of the
American Press appearing to view in the estab-
lishment of The American Weekly Mercury,

52

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

EXTERIOR OF CARPENTERS HALL, BUILT IN I77O.

SOUTH SIDE OF CHESTNUT, BETWEEN

THIRD AND FOURTH STS.

the first newspaper printed in the city, and
which issued from the office of Andrew Brad-
ford and was sold by him and John Copson. A
runaway negro slave constituted the subject for
its first advertisement.

During the summer of 1732 an edifice was
begun which stands to-day as the most distin-
guished in the United States, from whose tower
the Independence Bell heralded the tidings of
liberty. The State House, as then known, stood
in the centre of a lot, described as being at the
southeast corner of Sixth and Chestnut Streets,
with a lot on Fifth; the room in its west end
was used as the Chamber of Legislature, and is
now known as Independence Hall. Several
years later, the buildings for the use of the
County and the City Courts were erected at the
southwest corner of Sixth and Chestnut Streets.
An interesting item of this period is the inven-
tion of the quadrant, by Thomas Godfrey, a
Philadelphia!).

Troubles with England began; public meet-
ings of the citizens wire- held protesting against
a taxation which was considered unjust; and on
June [8, 1771. it was decided to convene a Con-
tinental Congress, the conference being held at

Carpenters' Hall, September jth. In this now
historical building, the associations of which are
among the most vivid in Philadelphia's annals,

a memorable- decision was reached by delegates

from eleven provinces — a decision which was to
precipitate a war with England and result in the
enfranchisement of the colonies. The senti-
ments of the people were set forth, and it was
declared that " no obedience was due from the
Provinces to the late cruel, unjust and oppres-
sive acts of the British Parliament, but that they
should be rejected as the attempts of a wicked
administration . ' '

The position of Philadelphia in the Revolu-
tion which followed closely upon this action is
well known. Through the influence of Thomas
Paine's writings the people had been mentally
prepared for an assertion of independence, and
the battles of Lexington and Bunker Hill
strained the feeling of the colonies to intense
hostility ; the Declaration of Independence
formed the climax to the conditions. This
document, in the preparation of which Benja-
min Franklin, of Philadelphia, was more than
prominent, needs no description, while the sites
of the Independence Bell and Independence
Hall will tell the visitor the location of the
shrine of American liberty.

The first American flag was made in Phila-
delphia, by Mrs. Elizabeth Ross, who resided
on Arch Street, near Second ; this flag was
accepted by Congress, and for years kindred
supplies wTere furnished the Government by this
lady.

The possession of Philadelphia by the British

INTERIOR 01 C XKI'l.NIl RS BALL. PIRST CONTINEN-
TAL CONGRESS ASSEMBLED SEPTEMBER 5, >774-

5 1

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

has been well depicted in American history, and
that incident known as the Meschianza also
mentioned in a charming- book recently pub-
lished by the Lippincotts. The restoration of
peace terminated an eventful period, and may
be said to have begun one equally so.

Philadelphia was incorporated in 1789, and in
1790 it was voted to remove the seat of govern-
ment to the District of Columbia, Philadelphia
nevertheless to retain it until ten years had
passed.

This period was full of local incident with
a national bearing. The State House at the
corner of Fifth and Chestnut Streets was
begun ; the Bank of North America adopted
the money practice of dollars and cents ; John
Fitch successfully applied steam in propelling
the first boat ever driven in this manner in
American waters ; and the First National Bank
was proposed. The passage of an act establish-
ing the United States Mint resulted in the build-
ing antedating that now bearing the name in
our city.

The history of Philadelphia from the early
days thus briefly summarized is one of growth. '
The War of 181 2; the consolidation of the city;
and the War of the Rebellion afforded her citi-
zens opportunity to display their public-spirit-
edness, and in no instance can it be said that
she failed to do her duty.

To-day, with over a million inhabitants,
essentially a city of homes, and yet equalled
in industrial and commercial importance by
only two cities in the country, Philadelphia
stands as the striking evidence of gradual
result — a result, moreover, born of her own
inherent healthfulness and evolutionary force.
No other city in the world has so many single
residences; none in the United States possesses
equal environing scenic beauties. Two thou-
sand miles of streets stand on the city plan as
the present and future sites of homes ; while
the 2700 acres and more comprised in the pic-
turesque beauties of Fairmount Park constitute
a resort surpassing in its varied attractions any
park in the world.

In its ocean commerce it still sways $100,-
000,000 in exports and imports ; in its indus-
tries it contributes an annual product from its
workshops valued at $600,000,000. For the
benefit of those who desire to remember the
points of historic interest as well as those of
natural beauty to be found within the environs
of Philadelphia, the article herewith offered
has been prepared and the illustrations accom-
panying it presented.

The representative institutions of Philadel-
phia, of historical or more modern interest,
which are shown in this connection, demand
some brief descriptive data.

INSTITUTIONS OF PHILADELPHIA.

The opening view, after the famous painting
by Benjamin West, depicts an episode in the
early founding of Philadelphia which will ever
be environed with grateful memories to the de-
scendants of her early settlers. To those who
may be interested in visiting a locality which
teems with historic incident, the traditional
locality of Penn's Treaty with the Indians is
still pointed out to the visitor. The treaty

INDEPENDENCE HALL. BUILT IN 1729-1735.
CHESTNUT STREET, BETWEEN FIFTH AND SIXTH STS.

elm, beneath wThose overspreading branches the
agreement was reached which ensured to the
pioneers their peace and safety, no longer re-
mains; but on Beach Street, north of Hanover,
stands a small stone monument, built in 1827, to
mark the site of the tree which had supposedly
stood from 1682 until 1S10. A public square
surrounds this spot. Historical evidence may
be wanting to corroborate this treaty of the
founder of Pennsylvania with the Indian occu-
pants of the land, but the burden of probability
rests upon the side of its truthfulness, and the
inscription "unbroken faith" upon the stone
will afford man}- kindly thoughts of primitive
times to generations yet unborn.

55

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY,

The Philadelphia of 200 years ago, as pictured
in the old pictorial curiosity reproduced in our
pages, will attract from its own intrinsic interest
rather than from the artistic nature of the por-
traiture here given. The original painting,
which now occupies a side of the wall at the
entrance of the Philadelphia Library, was done
by Peter Cooper. In a letter from Hon. George
M. Dallas, who was the Minister to England at
the time, and who wrote under the date of Janu-

" The principal buildings of the town at that
day are pointed out, and twenty-five good old
Philadelphia householders are named in the
margin.

"Although worthless in any sense but that
connected with Auld Lang Syne, it presents, at
half a glance, so striking a contrast to the Con-
solidated City of 1857 that it has its interest for a
corner of the Philadelphia Library. ' ' Mr. Dal-
las subsequently states, in a foot-note : "It

PHOTO BY GUTEKUNST.

AND PUBLIC BUILDINGS. I'HILADI

ary 12. 1S57, the following facts are given :
" I will send for the Philadelphia Library, an
antique daub, painted, as is believed lure-, in
1720, purporting to be- the southeast prospect
of the city of Philadelphia, by Peter Cooper,
painter. It is Oil torn canvas, some eight feet
long by one and one-half feet wide. One of

the members of Parliament, in Looking over the
rubbish of a city curiosity shop, picked it up

and bought it for me.

appears by the minutes of the Common Council,
May 27, 1717, that Peter Cooper, painter, was
admitted a freeman of Philadelphia on the
payment of 5s. 6d."

The foregoing, together with the reproduc-
tion from another old painting of Market Street
market, will enable some adequate idea of first
beginnings to be had, and are worthy of preser-
vation as antiquities.

In the old district of South wark, which was

56

UNIVERSITY OF PENNSYLVANIA, WOODLAND AVENUE, BETWEEN THIRTY-FOURTH AND THIRTY-SEVENTH STREETS.
FOUNDED IN 1753, THROUGH THE INFLUENCE OF DR. BENJAMIN FRANKLIN.

■nisi At M

w^Sfm 1 1 ill

nil

1 f -I a 1

■B^i g J .j „ '

1, I ^^^^Jl

okjm J

-V j '**B,.y ***^

GIRARD COLLEGE, NINETEENTH STREET AND GIRAR1) AVENUE. FOUNDED IN I^O, BV STEPHEN GIRARD.

UNITED STATES MINT, ERECTED 1829-33 AS SUCCESSOR TO ORIGINAL BUILDING, IN I792,
ON SEVENTH STREET ABOVE MARKET. — FIRST MINT IN UNITED STATES.

designated in our historic summary as the
Wicacoaof the Swedish settlers of Philadelphia,
on Swanson Street below Christian, stands an
edifice of rare age. The Old Swedes' Church,
an excellent view of which is given, together
with the abode of its dead, has been standing
since 1700, when it was erected on the original
site of a building, used as church or fort, dating
from 1677. The stones in its quaint old grave-
yard bear dates from those early times. The
grave of the ornithologist, Alexander Wilson, is
located there.

A building which demands the reverence of
the visitor from all points of the country, the
first brick building in Philadelphia, the oldest in
the state, and the state-house of the province
in colonial days, is to be found after entering
the Lansdowne drive- at the entrance of the
\\\st Park over the Girard Avenue bridge-. This
building is the lYnn House, or Lctitia Cottage,
as it is called, which has been removed from its
old site on betitia Street, where it stood since
[682. Our allusions to the memorable councils

convened within its walls, made in the former
part of the review, will give our illustration no

inconsiderable value, made as it was from a rare
old print. In connection with the authentic
portrait of William Penn, from a photograph of
the engraving made by the eminent John Sartain,
after the original by H. Inm'an, this section of
our subject is complete.

Carpenters' Hall, an edifice of the most in-
tense historical import, and of the exterior and
interior of which fine viewTs are given, stands on
Chestnut Street between Third and Fourth, in
an open court. Here, on Septembers, 1774, the
first Continental Congress assembled to take
measures for accomplishing their independence.
Upon its venerable walls an inscription awakes
the patriotic mind to a recognition of the deeds
of Henry, Hancock and Adams. It has seen the
first Provincial Assembly with their delibera-
tions, the conferences of the British, and was
the location of the first United States Rank.

Carpenters' Hall was erected in 1770 by the
Society of Carpenters, who designed it for their
private uses. Then occupying the centralized
point of the city, it was selected for the public
purposes designated, and subsequently fell into
decay until refitted and restored to its colonial

58

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY,

character by the Company of Carpenters, to
whose care its present preservation is due.
Relics hang upon the walls, and the visitor is
invited to it as one of the most precious memen-
tos of revolutionary days.

Independence Hall is a locality which needs
but little notice; no one that is familiar with the
history of his country can disregard its claims.
It is the most famous of all famous American
buildings, and will ever be associated with the
immortal July 4, 1776, when "Old Liberty " pro-
claimed its tidings throughout a future land of
freemen. The Second Continental Congress was
convened in the east room on the first floor of
this structure; the Declaration of Independence
was adopted in the same apartment ; and still
later (in 1787), the Constitution of the United
States was drafted and adopted by the Constitu-
tional Convention within the walls of the same
hall. The entire building is a treasure-trove
for seekers after revolutionary Americana, its
rooms abounding in articles of historic interest,
portraits, etc. The old bell bearing its prophecy
of independence, is a cherished relic in a museum
rich in such associations.

To Philadelphia belongs the honor of the first
edifice erected by authority of the Federal Gov-
ernment, which was used for the United States

Mint. The original building, standing on Sev-
enth above Market Street, was built in 1792,
and was superseded by the present building, on
Chestnut Street near Broad, a view of which is
given. The latter was finished in 1833, and it
is interesting to note that the coinage since the
establishment of the institution a century ago,
has been $1,056,337,771.05. It is open to visitors,
and its museum of numismatical relics renders
it a point of much interest among the attractions
of our city.

Of the historic educational institutions of
Philadelphia, the University of Pennsylvania is
a noble illustration, its charter dating back to
1753, when it was called the Academy and Chari-
table School of the Province of Pennsylvania.
Benjamin Franklin, always progressive in edu-
cational matters, espoused its cause and was one
of the originators of the movement. Two years
after its inauguration, it was known as The Col-
lege and Academy of Philadelphia, being incor-
porated in 1779, however, as the University of
Pennsylvania; the college and university were
united in 1781. It has the oldest medical school
in America, opened by Dr. William Shippen in
1764; has magnificent collections in archaeology
and glyptology, and is the most imposing and
extensive institution of its kind in the state.

VIEW OF THE SUNKEN GARDENS, HORTICULTURAL HALL, FAIRMOUNT PARK.

59

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

Vying with the foregoing, although upon en-
tirely different bases, is the splendidly equipped
philanthropy of Stephen Girard, the buildings
of which occupy a space of forty-one acres,
from Nineteenth Street and Girard Avenue to
Twenty-fifth Street. The main building, which
we illustrate, is one of the purest examples of
Corinthian architecture extant, and is more
visited by strangers than probably any other
locality of the city, excepting, perhaps, it be
that Mecca of American pilgrims, Independ-
ence Hall. Founded in 1830, by Stephen
Girard, with a fund of $2,000,000 as its endow-
ment, it gives shelter, maintenance and educa-
tion to over 1500 children, and is constantly
growing.

One of the most unsurpassed examples of
modern education is the Drexel Institute of
Art, Science and Industry, located at Thirty-
second and Chestnut
Streets. This is one
of the most recent
of Philadelphia's in-
stitutions, and is due
to the generosity of
the late Anthony J.
Drexel, wdiose dona-
tion of $2,000,000
has resulted in the
present magnificent
building and equip-
ment for training
young men and
women in the arts
and industries. Its
collections of manu-
scripts, its museums,
its library, its mechanical and art departments,
and the various rooms given up to domestic
economy, arts and crafts, are rarely complete,
and it is one of the most distinguished of its
class. The architecture is of classic Renaissance,
a pure type of that period.

In LS05, an association was incorporated
under the title of the Pennsylvania Academy
of the- Fine Arts, which for fifty years held exhi-
bitions in a building on Chestnut Street above
Tenth. The present specimen of Venetian
architecture, at broad and Cherry Streets, was
erected in [876, or at least completed in that
year. It is a noble building, has a line gallery
of pictures and sculptures, and comprises a
splendid school for professional artists, giving
instructions in art to those who may desire to
fit themselves for practical avocations, such as

lithography, decorating and kindred useful arts.

PHILADELPHIA ACADEMY OF FINE ARTS,
BROAD AND CHERRY STREETS. BUILT 1876.

Its collections afford rare opportunities for such
study.

Philadelphia is rich in the evidences which
the distinguished citizen, Benjamin Franklin,
left behind to mark his genius. The American
Philosophical Society, in its historical building
on Fifth Street, adjacent to Independence Hall,
is a fruit of the Junto Club, which Dr. Franklin
was influential in starting. He was president of
the bod}* and held an honored place in this, the
first institution of its kind in America. Indeed,
it is said that Europe possesses very few societies
of older lineage. AVe have also the Franklin
Institute, one of the most important of American
institutions for promoting the mechanic arts;
the Pennsylvania Hospital, for which Franklin
secured the charter in 1751; the Philadelphia
Library Company, founded in 1731 by Franklin
and his friends; while among the revered mem-
orials of our city the
grave of Benjamin
Franklin and his wife
in the corner of
Christ's Churchyard
affords a mournful
interest.

To speak of the
many kindred build-
ings, and enumerate
their attractions and
interest, would re-
quire much more
space than is at our
disposal in this con-
nection. Besides, it
is not the intention to
do more than bring
the most prominent to the reader's attention.
The public buildings, the various societies of
learned character, the private and other institu-
tions, are adequately described in any of the
excellent guide-books of Philadelphia.

AMONG the most noteworthy institutions of
our historic city are her magnificent railroad
terminals, of which it has been said that no
other city in the world contains their equals.
Perfectly adapted to the uses of an enormous
volume of passenger transportation, these new
structures are architectural ornaments even
when compared with the handsomest buildings
of Philadelphia. Every department of con-
struction reflects the ability and experience
which practical railroading could alone confer
upon those responsible.

60

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

The Pennsylvania Railroad, with its spacious
station and corporate building at Broad and
Mark S :-. first commands our attention,
the visiting Typotheta; delegates being most
familiar with the extensive character and un-
surpassed service of this great railroad. The
new building, said to be the largest in the
country owned and solely occupied by any one
corporation, is of modern Gothic, and presents
a most imposing appearance. With a frontage
of 306 feet on Broad Street, from Filbert to
Mark - Its, and a depth of 225 feet west on
Market Street, it contains ample room for all
the various business departments of the com-
pany, as well as affording very superior com-
forts to the travelling public. Within the ten
stories, to which the building has been erected,
there are 1S0 rooms, ranging from 250 square feet
to 4000 square feet in size; these are for office
purposes. An annex on Filbert Street, five
stories high, is devoted to the ticket-receivers,
brakemen, conductors and trainmaster. The
train-shed, one of the greatest spans ever built
for the purpose, is over 5S9 feet long, and the
arches are more than 300 feet wide at the base.
Two hun-
dred trains
can be ac-
commo d a-
ted each
way daily.
Some idea
of the mag-
nitude of
the struc-
ture can be
obtained
from ob-

Ing its known aggi gated - 5;. 000, 000.

The men under whose direction the Pennsyl-
vania Railroad has pushed its way to the front
of the great systems of the world, and who con-
trol and regulate its affairs, are pictured upon
the opp' ge B. Roberts, the

president -•-known execul

in his line that railro.: ever evolved.

and the prosperity which has attended the ener-
I well-directed efforts of himself and
compete: rloquent I

monial to capacity and careful management
that might be educed.

In the first vice-president, Frank Th
the - an able -

equipped in a" "rich

go to make up a managerial
pleasant personnel and a broad, practical knowl-

edge of requirements, it is to his efficient super-
vision that much of the present smoothly-run-
ning system is due.

George W. Boyd, the assistant general pas-
senger agent, has been identified with the Penn-
ama Railroad for a long time, and his de-
partment is organized upon bases of solidity
and experience. Mr. Boyd is known as one of
the most competent officers which ever held
prominent place in the pas- -ice of a

great railroad.

The new terminal station of the Philadelphia
.x. Reading Railroad is unique in embodying a
style never before utilized in railroad archi-
tecture. It is of a composite Renaissance, with a

NEW DEPOT OF THE PEXXSVLVAXIA RAILROAD IX PHILADELPHIA.

frontage of 265 feet and a depth of 107 feet on
Twelfth Street. The building, which presents
an impressive appearance with its eight stories
and splendid facade, is of New England granite,
and of pink-tinted brick and white terra-cotta.
The offices and waiting-rooms are decorated
in a style the most sumptuous and elaborate.
All manner of convenier - mbodied in the

structure, and the upper portion 1 to

offic -.-ral departments of the company.

The kl view with much delight the

delicacy of the int 1 will be

impressed with the magnitude of the train-shed
as well. This latter has a clear span of 266
feet, the distance from the level of the thirteen
tracks within to the top of the arc*.

Ninety thousand square feet of glass are
utilized in this span.

62

GEORGE W. ROBERTS, PRESIDENT P. R. R. FRANK THOMSON, FIRST VICE-PRESIDENT P. R.

GEO. "U". BOYD, ASSISTANT GENERAL PASSENGER AGENT P. R. R.

ATTRACTIONS AND INSTITUTIONS OF AN HISTORIC CITY.

The passenger station of the Baltimore &
Ohio Railroad will also receive attention as
offering convenient waiting-rooms, and as em-
bodying the offices of the Philadelphia Division.

The freight terminals of the city are excep-
tional. The Pennsylvania Railroad, always
advancing in proportion with demand, has pro-
vided over thirty stations where freight is
shipped and handled, its aggregate tonnage for
one year being much over 10,000,000.

The Philadelphia & Reading Railroad has in
the neighborhood of twenty-five freight stations
in various parts of the city.

Almost the only building among those illus-
trated, which has not received attention in the
text, is the largest structure in the city, the City
Hall, opposite the splendid depot of the Penn-

NEW TERMINAL OF THE PHILADELPHIA AND READING RAILROAD.

sylvania Railroad, and which is more generally
designated the Public Buildings. This vast
undertaking, which has already consumed a
number of years and is not yet completed, and
has cost thus far upwards of $15,000,000, con-
tains the city and county departments.

The building teems with allegorical repre-
sentation, and its sculptures are very profuse;
they adorn the exteriors, the corridors and the
inner court, and depict the emblems of justice,
of peace, of science, art and nature. In the
plaza is a magnificent bronze figure of William
Penn, awaiting its position upon the top of the
lolly lower which is to cap the entire edifice.
When this impressive feature has been finished
the eye will follow its symmetrical proportions
to a height of over 5 17 feet, greater elevation
than that of Hie Great Pyramid, of St. Peter's,
ul Rome, or of the Cologne Cathedral. As

shown in our illustration, the building is com-
pleted, and is represented as it will look in a
short time after the various details have received
attention, and the tower its full elevation.

In scenic environment Philadelphia has not
her superior in any city of the United States,
her superlative park facilities giving her a dis-
tinguished place among the cities of the world
that can lay claim to contiguous natural beauties.
Few, if any of such parks, surpass in diversity
of effect, in picturesqueness and in graceful
gradation from grandeur to simplicity, the
charming vistas of Fairmount. Nearly 2800
acres are comprised in this stretch of land, and
woodland, field, river and rocky ravine unite to
enthral the visitor with unexpected enchant-
ments of vision. Miles of the wildest and rocki-
est scenery
blend with
the interven-
ing solitary-
nooks along
the \V i s s a -
hickon with
an incompar-
able effect.
Associations
of an historic
character
add to the
charm of the
locality, and
it is not at all
difficult to
rehabilitate
the place with its native children who once
roamed through its forests, fished in its streams,
and hunted within its confines.

The two views offered upon the opposite page
are from photographs made along the quiet and
beautiful Wissahickon, and afford some idea of
the rustic beauties awaiting the visitor who sees
them in their summer raiment. They afford a
fitting termination to a sketch which has been
necessarily brief. If the results to the visiting
delegates of the United Typothetse of America
stand in after-days as recollections of a pleasur-
able occasion, we shall be more than repaid.

Philadelphia has seen many opportunities for
extending her well-recognized hospitality to
distinguished guests. To the master printers
in their annual convention assembled she will
lender her warmest and most cordial wel-
come.

64

VIEW OX THE WISSAHICKOX.

VIEW ON THE WISSAHICKOX.

THE MOVABLE UNIT.

A SIMPLE AND EQUITABLE SYSTEM FOR MEASURING TYPE COMPOSITION.

(Copyrighted, 1893, by William B. MacKellar. )

URING the past few years
several methods have been
proposed to replace the
one in vogue for the meas-
urement of type composi-
tion. From the complex-
ity of their nature, or from
their lack of practicability,
they have met with little
favor. The dissatisfaction prevailing among
kindred interests in the craft, and of the em-
ployer and the employed, demands that some
remedy be at once applied that shall correct
the existing inconsistencies in measuring com-
position, and also the inequalities of remunera-
tion for it.

In this paper is presented a simple, just and
comprehensive plan, new in feature yet easily
applied. As it interests not only individual
cities, but affects the well-being of the printing
fraternity throughout the entire country, it is
a matter for thoughtful consideration, and it
should receive the earnest attention it deserves.
At the session of the International Typo-
graphical Union of the United States, held in
1SS6, a committee was appointed to take into
consideration the existing variations in the
thickness of lower-case alphabets of plain, or
newspaper, type. The committee met, and re-
ported a resolution objectionable in principle
and difficult of uniform application. The entire
scale of measures of lower-case alphabets, from
Pica down to Diamond, was increased one em,
as follows:

Old

New

Old

N e w

Scale.

Scale.

Scale

Scale.

Pica ....

12

13

Minion .

■ 13

M

Small Pica

12

t3

Nonpareil

• 14

[5

Long Primer

12

13

A -ate . .

• • 15

16

Bourgi

12

13

Pearl . . .

. . i<

17

Brevier . . ,

• 13

> >

Diamond .

17

[8

The fact that no one type-founder in the
United States makes type of all si/.es with
lower-case alphabets thick enough to meet the
requirements of the decisions of the committee,
at once shows the- hardship and impolicy of
this resolution. It also compels the printer or
publisher using type not coming np to the

standard given to pay an extra price for com-
position.

The effect of this proposed radical change in
the thickness of type was probably not esti-
mated by the committee. A compliance with
such a provision would not only compel the
re-cutting of a large proportion of fonts of type
of all sizes, involving a great and unnecessary
expense, but would restrict the choice of an
author or a publisher to type of a broad face,
even though the necessities of the case de-
manded a thin face — as for directories, diction-
aries, encyclopedias — and would increase the
size and cost of books of such character.

The subject has been several times agitated
at recent meetings of the International Typo-
graphical Union, but without arriving at any
satisfactory reformation. The same antiquated
and unjust method of estimating the value of
1000 ems of type composition upon the basis
of the em quad still continues its unreasonable
existence.

The restrictions placed upon type-founders,
compelling them to cast type in unusual and
distorted proportions to conform to compulsory
regulations lately formulated, have led to in-
creased study in the origination of a remedial
scheme, equitable and satisfactory to all inter-
ested.

While my original system of adopting the
letter m of its respective alphabet as a stand-
ard, and of abolishing the use of the em quad,
was in every way equitable, my new system
now offered possesses additional advantages.
Under this new principle the alphabet may be
of any length, either above or below the re-
quirements of the union. There also exists no
necessity for guarding the lessening or increas-
ing of the thickness of any letter. The thick-
ness of the thirteen letters contained in the
large boxes of the lower case need not equal
the thickness of the thirteen letters contained
in the smaller boxes. For this rule in measure-
ment, lately promulgated, no plausible reason
appears to exist. The apparent cause for the
arrangement of the two sets of thirteen letters
was, probably, that it was thought that the

66

THE MOVABLE UNIT.

thirteen letters contained in the large boxes of
the lower case were those most frequently nsed.
This cannot be a correct basis, as such is not
the fact. The union, in making this rule that
the divisions of the alphabet, as mentioned,
should be of the same respective measure,
seems to have acted under a misapprehension.
It demands that the letters c d e i s m n h o u t
a r shall be of a length corresponding to the
remaining thirteen letters of the alphabet. It
does not follow that because the letter m occu-
pies one of the large boxes of the lower case
that it is one of the thirteen most frequently
used. It is two or three times the thickness of
the letter 1, and for this reason is given a large
box to accommodate its proportions. In fre-
quency of use the 1 exceeds the m by 40 per
cent. Now, why the letter m should have been
substituted in the thirteen letters most fre-
quently used in place of the letter 1 is a matter
that is difficult to comprehend, except so far
that if it were not for this misplacement it
would be impossible to make the two divisions
of the alphabet approach anywhere near each
other in even lengths.

To supersede the present system, and to dis-
pense with the radical and unequal lower-case
measures referred to, I propose to abolish the
em quad 1 or the square of the type '1 as the
standard for measuring matter, and to adopt
instead a standard represented by a movable
unit.

The first step is to establish the size of the
movable unit. This is not by any means a com-
plicated affair:

First. Ascertain the number of points in an
alphabet of the type that is to be used.

Second. Divide this amount by 26, the num-
ber of letters in the alphabet. The result of
this will be the unit of measurement for that
face or size of type.

Third. Now, to ascertain the number of like
units in one line of matter set, divide the num-
ber of points that are contained in the measure
of the column by the unit already found. This
will give the correct number.

Fourth. Multiply this number by the lines
of the take, and this will give you the entire
number of units in the whole matter set.

This is based on the principle of self-adjust-
ment, and is so comprehensive that it affords
equal rights to all :

1. It secures to the compositor a just and
equal compensation for setting any variety of
" lean " or "fat" type.

2. Instead of the present arbitrary exaction,

it leaves the choice or selection of faces to the
printer or publisher.

3. It in no wise interferes with the present
system of plain faces made by the type-founder.

On the following page are two examples,
respectively showing a lean face and a fat face
of Brevier.

Taking the first example, we find that the
lower-case alphabet measures 104 points. This
amount divided by 26, the letters of the alpha-
bet, gives as a quotient 4 points, which is the
unit. The width measure of the column of
matter set is 162 points. This amount divided
by 4, the unit, gives 40 }4, which is the number
of units in one line. This amount multiplied
by the number of lines set, which is 40, gives
1620 units, which is contained in the piece of
matter.

Taking the second example, the lower-case
alphabet will be found to measure 120 points.
This amount, divided by 26, gives a result of
4T83, w'hich is the unit. The measure of the
matter being 162 points, when divided by the
unit 4r83, gives 35, the number of units in the
line. This latter multiplied by the number of
lines in the take, which is 40, makes a total of
1400 points.

A comparison of the two examples shows
that in the same space occupied by either the
compositor on the lean face will be equitably
paid for 1620 units, while on the fat face he will
receive compensation for 1400 units. Under
the old system of measurement by the em
quad the compositor on the ' ' lean ' ' type is
compelled to set the additional seven lines to
make the 1400 units, being unjustly made to
perform nearly 25 per cent, more labor to re-
ceive the same pay as another compositor work-
ing on the " fat " type.

The principle explained adapts itself with a
similar result to every* face and body of plain
tvpe that is made. It is not complex, and the
compositor is not compelled to enter into diffi-
cult calculation.

In every instance the unit, increasing or
decreasing in size in proportion to the length
of the lower-case alphabet, whether " lean " or
"fat," will invariably regulate the number of
lines to be set to make 1000 units, or portion
thereof. A critical examination will disclose
the fact that the same number of individual
tvpe, and the same number of movements in
setting and distributing, are performed in every
1000 units of matter so set, regardless of what
plain face of type be used.

At a conference held November 28, 1892, at

67

THE MOVABLE UNIT.

EXAMPLE OF A BREVIER LEAN FACE.

Measures 40*4 units.

mmmmmmmmmmmmmmmmmmmmmmmmm

In tying up a page use fine twine, winding
it four or five times round it, and fastening at
the right-hand corner by thrusting a noose of
it between the several turnings and the matter
with the rule, and drawing it perfectly tight,
taking care always to keep the end of the cord
on the face of the page. While tying it, keep
the forefinger of the left hand tight on the cor-
ner, to prevent the page from being drawn aside.
The twine being fastened, the compositor re-
moves the page from the ledges of the galley,
to see if the turns of cord lie about the middle
of the shank of the letter; if they lie too high
— as most commonly they do — he thrusts them
lower; and if the page be not too broad, he
places the fore and middle finger of his right
hand on the offside of the head of the page, and
his thumb on the near; then, bending his other
fingers under, he presses them firmly against the
head of the page; he next places the fingers of
his left hand in the same position at the foot of
the page, and, raising it upright, lays it on a
page-paper; then, with his right hand he grasps
the sides of the page and the paper, which turns
up against the sides of the page, and sets it in
a convenient spot under his frame, placing it on
the left hand, with the foot toward him, that
the other pages that are in like manner set
down afterward may stand by it in an orderly
succession until he comes to impose them. If
the page be a quarto, folio, or broadside, it is, of
course, too wide for his grasp, and he therefore
carries the galley and page to the imposing-
stone, and turns the handle of the galley toward
him, and, taking hold of the handle with his
right hand, he places the ball of the thumb of
his left hand against the inside of the head ledge
of the galley, to hold it and keep it steady, and
by the handle draws the slice with the page
upon it out of the galley, letting the slice rest

EXAMPLE OF A BREVIER FAT FACE.

Measures 35 units.

mmmmmmmmmmrnmmmmmmmmmm

In tying up a page use fine twine,
winding it four or five times round it,
and fastening at the right>hand corner
by thrusting a noose of it between the
several turnings and the matter with
the rule, and drawing it perfectly tight,
taking care always to keep the end of
the cord on the face of the page. While
tying it, keep the forefinger of the left
hand tight on the corner, to prevent the
page from being drawn aside. The
twine being fastened, the compositor
removes the page from the ledges of the
galley, to see if the turns of cord lie
about the middle of the shank of the let-
ter ; if they lie too high — as most com-
monly they do — he thrusts them lower ;
and if the page be not too broad, he
places the fore and middle finger of his
right hand on the off side of the head of
the page, and his thumb on the near;
then, bending his other fingers under,
he presses them firmly against the head
of the page ; he next places the fingers
of his left hand in the same position at
the foot of the page, and, raising it up-
right, lays it on a page-paper; then,
with his right hand he grasps the sides
of the page and the paper, which turns
up against the sides of the page, and
sets it in a convenient spot under his
frame, placing it on the left hand, with
the foot toward him, that the other
pages that are in like manner set down
afterward may stand by it in an orderly
succession until he conies to impose
them. If the *page be a quarto, folio, or
broadside, it is, of course, too wide for
his grasp, and he therefore carries the
galley and page to the imposing-stone,

Syracuse, X. Y., composed of committees rep-
resenting the four distinguished bodies, The
Newspaper Publishers' Association, The United
Typothetae of America, The International Typo-
graphical Union, and The American Type-
Founders' Company, called together to consult
upon the recommending of a new standard of
measurement for the lower-case alphabet, a
resolution was passed favoring the adoption

of the lower-case letter m in place of the em
quad.

For a still more favorable indorsement, I
now present the Movable Unit Standard to the
printing world. It being so correct and equit-
able in its result, may it not be hoped that it
will receive the degree of approbation that it
deserves, and prove a medium productive of
harmonious results?

William />. MacKellar.

Specimen of Engraving in three colors by

P, A, RINGLER CO,

26 and 28 Park Place to 21 and 23 Barclay Street, New York

Manufacturers of Plates for all Printing and
Embossing Purposes

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

{With Illustrations.]

K- - ■_ -■ r:\r _ .\_.- .-, ;

'■-■"

■HHH

p^iia

IJW»

aa

i *td

IIP

i(JI

M^B

EW subjects, whether deal-
ing with the sociology of
a nation or with its tech-
nical methods and achieve-
ments, possess the vital
interest for a western mind
such as that which inheres
in everything of oriental
origin; there is a peculiar
charm which the uncon-
ventional fancy and un-
restricted methods of the
peoples in these lands lend to their handiwork,
and which is so entirely foreign to our own means
for arriving at the same results, as to compel
our close attention to every description of their
arts and processes that promises enlightenment.
This is especially true of the fascinating art-
industries of Japan, and although we are gradu-
ally learning the truth about the means and
methods of artisans belonging to this intelligent
nation, there is still much to be gained before
our fund of authoritative knowledge shall be
considered as even approximately complete. A
recent addition to the literature of one of the
most important branches of Japanese graphic
arts leads to the present review, which will be
as exhaustive as the document from which our
information is to be gained will allow.

Through the kindness of T. Tokuno, Chief
of the Bureau of Engraving and Printing of the
Ministry of Finance, Tokio, Japan, the United
States Kational Museum has received as a gift
from the Imperial Government of Japan the
complete outfit of a Japanese wood-cutting and
woodcut-printing establishment, accompanied
by illustrated descriptions of all the tools and
materials sent, and of the processes used by
Japanese engravers and printers. This very
valuable addition to the Graphic Arts Section,
of which S. R. Koehler is curator, was accom-
panied by descriptive information from Mr.
Tokuno, which has been elaborated by the re-
sults of subsequent correspondence between
that gentleman and Mr. Koehler, thus forming
a most interesting monograph upon the subject,
and which the Smithsonian Institution has seen
fit to publish in pamphlet form. Mr. Koehler
has edited and annotated the communication
and added some extremely interesting comment
of comparative historical character, performing

the work with that scholarly care and accuracy
for which his researches are notable. By the
kindness and courtesy of the Public Printer we
have been enabled to procure electrotypes from
the original half-tone plates made for the mono-
graph, and are thus enabled to offer the readers
of the present Souvenir most interesting illustra-
tions from native artists, of a subject about
which the greater majority will be glad to learn
all that is possible. The illustrations were made
either from the objects themselves, or from
drawings by Japanese artists, furnished by Mr.
Tokuno.

At the outset of the monograph, the woods
used by the Japanese artisan present themselves
for consideration, and Mr. Tokuno says that
while " tsuge," a variety of Buxus Japonica, or
"adsusa," Catalpa Koempferi, var. Japan ica,
are employed, according to the degree of fine-
ness of the written characters or pictures to be
reproduced, the wood most generally used is
"sakura," a variety of cherry. In all cases,
however, the texture must be fine and hard.

This wood is first cut into planks, which are
planed until they are perfectly level and smooth,
free from all traces of the plane, and show some
lustre on the surface. The two sides are finished
alike, as the wood-cutter utilizes both.

Cut planks which are to be printed in black
only are usually mounted between strips nailed
to each end. There are several reasons for this.
It prevents the warping of the planks; it gives
free access to the air between them when a
number are stored on top of one another, and
provides the best means of keeping them dry and
guarding against damage by insects; it prevents
immediate contact of the blocks, and, finally, it
is sometimes very convenient, as it facilitates the
drawing out of such planks as may be needed
from among many stored away together, the
planks being marked or numbered on the sides
of the strips. For color-printing, however, the
same plank often has two or three designs upon
it for different tints, and consequently has regis-
tering-marks on different parts. In that case,
the end strips would be in the way, and are
therefore omitted.

From the tools enumerated by Mr. Tokuno,
it appears that the engraver does not suffer from
dearth of chisels, although he uses but one
engraving-tool for cutting out the design. This

69

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

knife, which is shown in the accompanying
illustration, is always of the same pattern and
size, and is used to execute all grades of work,
from the coarsest to the finest, the result de-
pending entirely upon the skill of the engraver.
Of their chisels, there are varying sizes, six
being used for removing smaller portions of
wood from between the
lines of the design, two
for correcting purposes
( i. e. , removing parts for
' ' plugging " ) , four for
larger parts, and two semi-
circular chisels for the
same purpose. These
tools are of the very best
quality. The engraver
also uses a ruler for cut-
ting straight lines, and
for fixing the registering-
marks on the planks used
in color-printing, besides
a brush for removing from
the plank the chips
thrown out by the cutting-
tools, and a saw for cut-
ting small pieces of wood
to be inserted in the plank
for corrections. Three
kinds of grinding-stones
are used; an oil-pot in
which oil of Sesamum
orientate is kept for rub-
bing the portions of the
plank to be cut, so as to
soften the wood and make
the cutting cleaner and
easier ; an oil-brush and
two wooden mallets for
driving the chisels. This
completes the equipment
of the Japanese engraver
on wood, and with it he
produces results that are
amazing.

The originals are fur-
nished to the wood-cutter
and transferred to the
planks. Of this manipu-
lation Mr. Tokuno gives
a complete description* "Written characters
or pictures to be cut on wood are drawn upon a
certain kind of Japanese paper, ' minogami ' or
'gampishi,' and the drawings thus made are
] lasted i face downward | upon a prepared plank
by means of starch paste. The plank is now

FROM THE SPECIMEN

read)- for the engraver. This applies to prints
in black only. For color-printing, the outlines
of the design are first cut and printed in black
ink ( india ink mixed with a solution of glue)
upon ' minogami,' and the designer of the pic-
ture then marks the parts to be colored (on
different sheets ) . These sheets are then pasted
down on the planks, as
before stated, and the
engraving also proceeds
as before."

The character of the
tool used does not appear
strange when we are ac-
quainted with the aim of
Japanese wood-cutting,
which is intended to show
the direction of the brush
in painting and to thus
preserve the features of
an original picture or of
the written characters it
may be employed to re-
produce. Indeed, "the
direction in which the
knife is moved might be
said to be almost identical
with the direction of the
brush, and wood-cuts by
skilful hands therefore
show the exact features
of the originals, while at
the same time the3^ have
a special artistic character
of their own."

The view of a native
wood-engraver at work,
offered in this connection,
will explain the manner
in which the main tool is
used. Here A represents
the plank to be engraved ;

B, a grinding-stone for
sharpening the tools, and

C, a box for containing
the various appliances al-
ready described. The
engraving-knife is held
in the right hand, the
middle finger of the left

hand giving pressure at the back of the blade ;
held thus, it is pushed to cut around the lines of
the design, after which the chisels are brought
into use to remove the surrounding wood and
leave the lines in relief. A small brush is then
used to clean and wash the plank, a proof is

NATIONAL MUSEL

JAPANESE WOOD-CUTTER'S KNIFE

Actual size. Two views.

70

ARTS OF WOOD-CUTTING AND WOOD-CUT-PRINTING IN JAPAN.

pulled to exhibit quality, and the corrections
are made, if needed.

The difference between the old and modern
methods of Japanese wood-cutting lies in de-
tail rather than principles, the ancient wood-
cuts being deeper, the shallowness of modern
work being probably ascribable to an abilit}7 for
finer work. "In the ancient style," says the
author, " the outer boundaries of letters or pic-
tures were cut away deeply before they were
properly engraved. At present the stages are

"Semi-circular chisels are now in use for
removing some of the part between the lines of
the design. There were no such chisels for-
merly, and hence much more time and labor was
spent on this part of the work than at present."

The foregoing constitutes the substance of
what Mr. Tokuno has to say upon this branch
of the subject, and the balance of his commu-
nication is taken up with the materials and
processes of printing. This section is so inter-
esting, and withal so important, that we must

FRO".! A DRAWING IN THE

MUSEUM BY A JAPANESE ARTIST.

JAPANESE WOOD-CUTTER AT WORK.

reversed. The latter method takes less labor
and time, and it is probably one of the causes of
the shallow cutting at present in vogue.

" Formerly the paper bearing the original de-
sign, after it had been pasted down on the plank,
was oiled, so as to make it transparent, and to
enable the wood-cutter to see the design quite
distinctly. This is not quite necessary now, as
it is easy to get paper sufficiently thin and trans-
parent in itself.

ask pardon for reproducing a great portion of
it verbatim, promising that the reader will find
the data complete enough to warrant a much
wider publicity than the monograph would
naturally give it.

The papers used for printing and their treat-
ment yield to Mr. Koehler, editor of the mono-
graph, his first caption.

Whatever the quality of the paper, it is sized
with a thin animal size. Among the prints sent

7i

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

to the U. S. National Museum are impressions
on three different kinds of paper : a special
Japanese paper, made at the Insetsu-Kioku
paper mills i known in America as Imperial
Japanese paper ), a Chinese paper, and " masa "
paper. Mr. Toknno continues:

' ' The sheets are moistened with water before
printing begins, the degree of moisture differ-
ing according to the quality of the paper, the
proper degree being determined by the judg-
ment of the printer. ' Masa ' paper, for in-
stance, on which the progressive proof of one
of the pictures ('Yinaka genji1) sent to the
U. S. National Museum is printed, should be very
slightly moistened by means of a brush. Experi-
ment has shown the amount of moisture in this
case to be 13.86 percent. A single wet sheet is
put between every three or four dry sheets until a
suitable layer is formed, which is pressed be-
tween two wooden press-boards. When all the
sheets have the proper degree of moisture they
are ready for printing.

" As the printing on this moist paper is done
with water-colors, it can be well done only by an
experienced printer. The following points are
to be noted : A, the paper should rather be
under- than over-moistened. If it is over-moist-
ened, the water-colors will spread beyond their
limits. If the paper dries during the progress
of the work, wet sheets are put between the
sheets to be printed, and the heap is allowed to
lie until the proper degree of moisture has been
obtained. If the paper is thick and strong it
should be slightly moistened from the back by
means of a brush. B, great care must be taken
not to put an excessive quantity of color on the
plank. Rice paste serves well to prevent the
water-colors from spreading, and it ought to be
used for every impression.

"The printed sheets, in the interval between
the printings, are laid on top of one another, to
the number of many hundred sheets. If the
water-colors have been properly applied there
is no fear of offsetting on the backs of the
sheets.

" A backing-sheet i> not generally used, but
if it is desired to avoid all traces of the ' baren '
on the back of the printed sheets, a sheet of
thin paper is used tor backing."

The occasional use of silk instead of paper
for printing also affords basis for an inter-
esting remark. One of the specimens in the

U. S. National Museum is on silk, which it is
usually found necessary to mount on paper ;
some experts, however, can print without this.
The impression alluded to, which is in thirty-
three colors, was mounted on paper, but only
along the edge which was laid against the
registering-marks ; this edge was trimmed off
when the printing was finished.

PIGMENTS AND VEHICLES USED IX PRINTING.

" Five colors or pigments only (black, white,
red, yellow and blue) are generally used for the
most characteristic Japanese printing, such as
the picture called 'Yinaka genji,' sent to the
U. vS. National Museum. They are all mixed
with the necessary quantity of water, when
about to be used, and the various hues, shades,
and tints required are obtained by mixing the
proper pigments together. These pigments, of
which samples were sent to the U. S. National
Museum, are the following :

"Black, ' tsiike-zumi,' is generally prepared
by macerating Japanese ink (a kind of india
ink ) in water for a few days, until the glue con-
tained in it is dissolved, and the ink is suffi-
ciently softened. It is then ground by means
of pestle and mortar. As, however, the ' tsuke-
zumi ' so made is very liable to deterioration, a
sample of a lampblack obtained from a Japanese
ink, macerated in water so as to remove the glue,
was sent to the U. S. National Museum. Conse-
quently, when this lampblack is to be used, and
after it has been mixed with water, glue solution
or rice paste (according to the judgment of the
printer 1, will have to be added. If glue solution
is used it should be mixed with the lampblack
in a basin, but if rice paste is used, that is mixed
with the pigment on the plank itself by means
of the brush.

"White, ' to-no-tsuchi,' is white lead. It is
used either alone, for prints of flowers, birds,
etc., or mixed with other colors, if light tints or
body-colors are wanted.

" Red, ' yo-ko,' a kind of scarlet 1 imported ),
probably carmine. Formerly the best kind of
saffiower, called 'ki-jo-mi,' was used, but on
account of its present high price the use of
' yo-ko ' has become quite popular.

" Blue, ' bero-ai,' is prussian blue. Formerly
' ai-rd ' paste, obtained by extraction from blue
threads or rags dyed with indigo, or from
'aigami,' a paper saturated with indigo, was

'An illustration from a Japanese novel, of which the
title is given, it is described by Mr. Koehlerasa design
in black outlines with c<.ior washes, and is printed on
three sheets, intended to be pasted together, which

would give a picture 29 x 14 inches, it represents a
hilly landscape, in the middle ground of which agri-
culture is being pursued. There are twenty-six print-
ings.

7-1

FROV SPECIVENS IS THE U. S. NATIONAL MUSE

BAREX AXD ITS PARTS.

Reduced in size. Actual size, 5^ inches in diameter.

a, the stiff rimmed disk, which holds the corded disk ; A. the disk of twisted cord; <\ the bamboo
sheath ; d, baren complete, seen from the tack, shewing the handle, with the strip of paper wound
around it.

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

used. But since the introduction of prussian
blue from Europe its use has become general.

''Yellow, 'ki-wo,' is orpiment. Formerly
'zumi,' extracted from a particular yellow
wood ; turmeric, ' wuken-ko ;' and a yellow
ochre, 'wo-do,' were used, but orpiment has
now taken their place.

" For mixing these colors water only is used,
but never any sizing such as glue, except with
lampblack, as before stated. A small quantity
of rice paste is, however, mixed with the colors
on the block or plank when color-prints are to
be made.

" By mixing these pigments the various hues
desired can be obtained, but the results will be
as bright as those shown in ' Yinaka genji ' only
in the hands of a skilful workman. There is,
however, no particular method of producing
these colors; the result depends entirely upon
the practical experience of the printer, who can
judge the exact proportions of the pigments to
be mixed without vising either balances or meas-
uring-glass, and who does the mixing either in
his color-dishes or upon the blocks themselves.
Rice paste gives a peculiar lustre to the colors
and much of their beauty depends upon the
time and care devoted to grinding them with
water. It is a fact well known to Japanese
printers that skilled hands produce much finer
colors with the same pigments than unskilled
hands.

" There is a brilliant purple (violet) used in
' Yinaka genji,' which has been taken for an
anilin color, although no anilin color has been
used in the printing of this picture. The color in
question was obtained by boiling a certain quan-
tity of red (scarlet) and blue (prussian blue),
such as those just described, with water, and
with proper treatment a bright purple (violet)
can be obtained, almost the same as with an
anilin purple. This latter purple, however, has
now come more generally into use, owing to the
ease with which it can be managed. A brown
color, formerly made by mixing red, yellow and
black, has now also been replaced by ' bengara,'
which is a kind of red ochre."

All of the pigments cited by Mr. Tokuno are
ii' >i like those given, a description of some
others, used in a different colored impression
from wood-cut blocks of a plant, giving other
formulae. Here a black is used, called " sunii,"
the best kind of india ink made in China or
Japan | the particular place is Nara K It is pre-
pared for use by rubbing with water upon the
surface of a stone vessel called "suzuri," fa-
miliar to every Japanese.

White, " gofun," calcium carbonate (white
chalk), is another white than that mentioned.
' ' For use it is put in a color-dish and a few
drops of glue solution added. It is then rubbed
with the finger in contact with the dish until it
becomes a wet mass and somewhat past}-. A
little glue solution is again added, and the rub-
bing repeated, and so on several times. "When
the mass has become sufficiently pasty to be
made into a pudding, it is beaten several times
against a plank, and then reduced to a thin
paste by diluting with water."

Pink, " sho-yen-ji," is apparently cochineal,
but its chemical nature has not been ascertained.
"It is imported from China in the form of
cotton-felt dyed red. To prepare it for use this
felt is put into water and gently pressed. The
resulting pink water is poured into a color-dish,
and evaporated nearly to dryness in a water-
bath, or over a very slow fire, care being taken
not to let it dry completely, as otherwise its
brilliancy would be destroyed. It is then kept
in a cool place, and protected from dust by put-
ting a cover on the dish or by placing it upside-
down in a box. ' '

Blue, "ai-bo," is a dark -blue stick made of
indigo. " For use it is ground like ' sumi,' in a
color-dish, with a few drops of glue solution.
When a sufficiently deep-blue color has been ob-
tained, it is well rubbed with the finger in con-
tact with the dish, and then evaporated to dry-
ness over a slow fire. A few drops of water are
now added, the dish is again placed over a slow
fire, the nibbing with the finger gone through
with as before, and water is added gradually
until the proper shade of color has been ob-
tained. If these directions are not strictly fol-
lowed, the pigment is not well diffused in the
water, and the resulting color, as a matter of
course, is not satisfactory. The treatment of
the pigments 'gofun,' ' shoyen-ji,' 'ai-bo,' etc.,
requires great caution, and the Japanese printers
and painters consider it one of the difficulties of
their art."

There are also, beside the above, a yellow,
" shi-o," which is imported, gamboge; a brown',
" tai-sha-bo," a hard, brown stick made of red
ochre; a red, "shu," composed of vermilion;
another red, " ki-jo-mi," saffiower; a red ochre,
" ben-gara ;" turmeric, " wakon-ko ;" a yellow
ochre, "wo-do;" a yellow, "zumi," extracted
from a certain yellow wood; a blue, " ai-gami,"
paper saturated with a solution of indigo; and a
blue, "ai-ro," indigo paste.

The following is said about the vehicles used
by the printer in manipulating his colors:

74

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

"Glue Solution. — The strength of this solu-
tion differs according to the different pigments,
printing papers, etc., to be used. About one-
third of an ounce of glue to about three fourths
of a pint of water is, however, an approximate
proportion.

"•Rice Paste. — This is used for both of the
classes of pigments described. It is made hy
boiling rice flour with a certain quantity of
water, and is kept in a suitable vessel. Newly-

Our readers will doubtless be surprised at the
simplicity of the tools used in printing.

The tools used by the Japanese woodcut prin-
ter are not man}-, but would be singularly puz-
zling to anyone not initiated into their uses.
They are preserved in a box. There are boards
for pressing wet paper, receptacles for colors, a
printing-table, brushes (one for each color used),
a wetting-brush for the paper, some oil of Sesa-
lnuni orientate, some chisels, and a knife used

FROM A DRAWING IN THE U. S NATIONAL MUSEUM 8Y

SESE ARTIST.

A JAPANESE WOODCUT PRINTER AT WORK.

made paste is preferable; old and rotten paste
should not be used. The pigment to be used is
put on the block or plank, and some of the
paste is then added, care being taken to mix
the two well and evenly by means of a brush.
If the printing-brushes are not charged with
this paste, the brilliancy of the colors is much
lessened."

to correct registering-marks when it becomes
necessary; these, with a basin for color-mixing,
an agitator for mixing the colors therein, some
pads of cotton cloth to be placed under the four
corners of the planks while printing, to keep
them from moving, the five colors first men-
tioned, and, most important of all, the baren,
constitute the entire furnishings of a Japanese

75

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN.

office for printing fine illustrations, either in
monochrome or colors.

The baren, of which an illustration is given,
is the Japanese printing-press; it is a little shield,
which, after the sheet has been laid down on the
plank charged with color, is rubbed over the
back in a certain peculiar manner so as to
induce the impressions. Its contacting face is
occasionally nibbed with the oil mentioned.

THE PRrXTER AND PRINTING.

In the illustration depicting a Japanese prin-
ter at work, the method of taking impressions
is shown. The printer is seated, his tools ar-
ranged in proper order for manipulation, and
the plank placed upon the printer's table A.
The bnish B, is used to lay on the color. ' ' The
paper being ready for printing, and having been
placed upon the shelf C, of the box D, a sheet
of it is laid down upon the plank, and is rubbed
lightly with the baren E. The printed sheet
is then placed on a board which rests upon the
box F, used for keeping colors, color-dishes, etc. ,
and when the required number of sheets has
been printed, they are put back on the shelf C.
Another plank is now taken, the second impres-
sion is made upon the sheets bearing the first,
and this is followed by the third, fourth, etc.,
until the printing is completed."

The block is inked by putting on the pigment
and then sprinkling on some rice paste. " It is
well, also, to soak the brush properly with this
paste, so as to mix it thoroughly with the pig-
ment. This increases the brilliancy of the col-
ors, and also fixes them more completely."

A special kind of printing, which, in reality,
is a kind of embossing, and which is called
" dry impression," is used when designs of the
same color as the ground, but differing in bril-
liancy, are to be represented. This treatment
is given after the printing is finished and the
paper dried, and is carried out by laying the
sheet upon a specially cut plank, bearing no
pigment, and then going over it with the baren.
This latter implement, which is the most im-
portant of those used by the native workman,
" is a little hard shield d, consisting of a stiff
disk a, made of layers of paper pasted together,
and turned up at the edge so as to form a very
shallow receptacle, and covered with cotton
cloth on the outside. A second disk b, formed
of twisted cord, fits into this shallow receptacle
and is held in place by the bamboo sheath r,
made of the ribbed leaf of the bamboo, which
is drawn tightly over it and twisted together on
the back to form a handle. This latter is made

more convenient for the hand to grasp it by a
strip of paper wound around it, and so ananged
as to assume the shape of a rectangular pad.
The reason why it is made so hard, beside mak-
ing the filling of twisted cord, is to prevent its
bending during use. Moreover, if it were not
so hard and rigid, the full stretching of the
bamboo sheath would be impossible. The ribbed
surface of the bamboo serves not only to get a
sharper impression, by limiting the contact to
the ribs, but it also prevents the adhesion of the
wet paper to the baren, which would occur, to
the spoiling of the paper, if the covering were
smooth. The contacting surface should be ap-
plied only to those parts of the plank which
have been left standing in relief. If this pre-
caution is neglected, there is the possibility of
smearing from the depressed parts of the block."
The direction used in handling this tool is zig-
zag, a lighter rub with the edge being given
when a very small and isolated part of the de-
sign is to be printed. In the illustration shown
herewith the dotted line represents the direction
of the baren, the solid curved lines marking
outlines of the design. The rib of the bamboo
sheath is kept as nearly as possible at a right
angle to the direction of the tool.

One would naturally suppose that consider-
able smearing would result from this method of
printing, the depressions of the cut, the use of
water-colors as inks and their application with a
brush, tending to make the impressions decid-
edly unclean. Mr. Tokuno says, however, that
experienced printers work without fear of
injuring the impressions and take no precau-
tions against it.

Possibly the most incomprehensible thing to
one of our occidental printers, who is used to all
the mechanical adjuvants to registering, is the
manner in which the skilled Japanese printer
will fit his colors to proper juxtaposition. Each
color is represented by a separate plank, and
certain fixed registering-marks are placed upon
each plank, so that every sheet may be laid
down with desired exactitude. "No mechani-
cal means whatever are used, either in placing
the sheet, or for holding it in position after it
has been placed. The Japanese printer, in these
matters as in all others, depends simply upon
experience. The manner of placing the sheet
on the block is shown. The same figure shows
also the registering-marks on the block of
plank, which consist of a rectangular notch

J at the right, and a straight notch

at the left.

" In printing, the methods are about the same

ARTS OF WOOD-CUTTING AND WOODCUT-PRINTING IN JAPAN,

throughout, greater skill being naturally de-
manded for the finer class of fac-similes, for the
aim is to produce impressions which an inexpe-
rienced eye can hardly distinguish from the
original, providing, of course, the latter require
such treatment as a work of art. The skill of
the printer determines the hues, tints, and
shades of color, and that of the engraver affords
the interpretative value for the printer to work
upon. The arts of engraving and printing are
practised in Japan according to the dictates of
experience, with no, or, at the most, but very
slight, mechanical assistance."

As to the cost of the work, the prints in the
U. S. National Museum afford an excellent
illustration, very naturally showing, in the case
of the design from a Japanese novel (printed

in three sheets, each about 9

14 inches,

which, when pasted together, form the com-
plete picture) a great difference in cost over
our own prices. The first sheet of this has
twenty-five printings ; the second sheet, twen-
ty-six, and the third, twenty-three, including
a blind impression to give an embossed pat-
tern in the garment of one of the figures.
The original design, by Kuniteru, called
also Yichiyusai, cost ten yen (about $7.60);
the work of engraving, done by Kokichiro,
Morikawa, cost about sixteen yen (about $12. 30)
taking him about twenty days, and requiring
about thirty-seven blocks; the printings, of which
there were seventy-four, cost about fifty-
four cents per day, 3000 sheets being printed
from the black block, and 700 to Soo sheets from
the color-blocks in that time.

Another specimen, showing a reproduction
from a water-color painting of a plant, the
Nandini domestica, has thirty-three printings,
the engraving costing about $6.38 for seven days'
work, and the printer receiving about seventy-
six cents a day, finishing in the neighborhood of
200 sheets per week. The part of Mr. To-
kuno's communication terminates with these
words :

" The people engaged in home industries do
not generally take a rest on Sunday. The week,
therefore, has seven days of about eight hours
each. As the Nandini domestica has thirty-
three printings, 200 finished sheets are equal to
6600 impressions per week, or 943 per da}-. The
numbers differ, however, according to the differ-
ent nature of the blocks. Of the easiest, for
instance, such as a uniform green for the leaves,
1200 to 1800 sheets can be printed in a day,
while of the most difficult ones, such as those
giving the half -tints in the fruit, only 600 to 700
sheets can be printed."

In his subsequently appended notes, com-
menting upon Mr. Tokuno's communication — of
which we have given a fairly complete sum-
mary— Mr. Koehler deals at length with the
subject, giving much extremely valuable in-
formation of a character deserving detailed at-
tention; his notes cover a great deal of import-
ant historical data. The space already occupied
with summarizing that portion of the report
occupied by Mr. Tokuno's communication forces
us to forego the pleasure of completing it in this
connection; the competent report of Mr. Koeh-
ler will itself soon be published.

THE EVOLUTION OF ILLUSTRATING.

EARLY PAGE ORNAMENTATION.

PSALTER, 1457.
FAUST & SCHEFFER

ONVINCING evidences attest the
claims of ornament to an ancient
lineage when we seek to follow
out the threads awaiting our in-
vestigation in early manuscripts
and kindred means of record. If
we may rely upon the citations
of Pliny, of Seneca and Fabricius,
the decorating of manuscript pages far trans-
cended their own period. In his Hist. Nat.,
lib. xxv, c. 2, Pliny affirms that certain physi-
cians of his day illustrated their books and
painted the plants they described upon the pages
of their medical works for the better instruction
of their readers. Prior to this, however, the
papyri of the Egyptians bore similar interpreta-
tive and ornamental touches; later examples of
manuscript, such as constitute our now oldest
remains of noteworthy collections, simply con-
tain small square drawings let into the text with
no ornamental adjuvants, and it is possible that
their predecessors equally confined pictorial
effort to the stricter expressions of utility.

Westwood, in his " Palseographia Sacra Pic-
torial ' who gives one of the most valuable array
of fac-simile reproductions from ancient sacred
manuscripts, directs especial attention to the
fact that the earliest specimens of ornament
found as accessories to manuscripts occur very
far back, the primitive examples showing differ-
ent parts ending in crosses or small scrolls of
different colored ink ; as a notable instance he
mentions the famous Codex Alexandrinus, one
of the foundations upon which our Scriptures
are pronounced authentic.

The finest early manuscripts remaining to us
of the Gospels bear ornamental columns of an
architectural character, having the same style
of interlaced ribands as are to be found in the
Egyptian and Ethiopic specimens. We find
exquisite headings in early (.reek manuscripts
of the Scriptures, the generality of which are
thus ornamented at the commencement of each
book, the heading extending across the top of
each page, the lateral margins of the pages
Ining adorned in rare instances with arabesques
Of decorative borders. Among the first illu-
minated manuscripts, which we have already
designated in a preceding article as classifiable

under the Anglo-Saxon or Irish manuscripts,
borders surround the pages and traverse the
whole or nearly the whole extent of the latter,
the design being generally broken up into dif-
ferent patterns most frequently depicting some
gigantic lacertine animal with the head at the
top of the page and the legs and the feet at the
bottom. A few of the finest in this class exhibit
a page entirely covered with an elaborate tesse-
lated pattern laid upon the ground opposite the
commencement of each Gospel ; there is nothing
similar to this in the continental manuscripts.
At a later period the artists whose reverence,
originality and skill combined to such advantage
in brightening the calligraphy of the manuscripts
of this type, introduced the most splendid bor-
ders into their work; narrow patterns surround
the text in which various foliaginous motives
have a part. ( See Westwood's " Palseographia,"
etc. )

Humphreys ( " The Illuminated Books of the
Middle Ages") cites the sixth, seventh and
eighth centuries as giving us the Irish and
Anglo-Saxon styles in their original purity, and
furnishes the student with some magnificent
examples among his valuable fac-simile repro-
ductions. ' ' The Book of Kells, ' ' perhaps the
most superb of such manuscripts, and to which
reference has already been made in a descrip-
tive sense, is the happy illustration of " a style
formed by the most artistic and ingenious dis-
position of interweaving threads, bands or rib-
bons of various colors upon black or colored
grounds, varied by the introduction of ex-
tremely attenuated lizard-like reptiles, birds
and other animals similarly treated. The initial
letters are of enormous size and extreme intric-
acy, the altered form of fine Roman characters
being the basis or framework of the design of
these letters. Such letters and also the border-
ings are generally surrounded with one or more
rows of minute dots, and another peculiarity is
that the whole of the writing on the principal
pages is generally kept large and made decora-
tive by a colored ground, or the introduction of
masses of color within or between the letters."

During the eighth and ninth centuries — era
of the Anglo-Saxon and Caroline | Charlemagne)
styles of manuscript ornamentation — there was

80

THE EVOLUTION OF ILLUSTRATING.

a noticeable tendency toward simplification.
Interlacing ribands were apparently condemned;
animals almost entirely disappeared, and borders
were sparingly used on portions of the pages
only. The Roman acanthus, or what Humphrey
terms a debased form of it, was employed.
Among the splendid manuscripts of the Caroline
period, the pages are sometimes wholly set
within narrow borders, which foliage occupies a
prominent place in ornamenting.

The appearance of a distinctive style in Eng-
land marked the beginning of the tenth cen-
tury. The text was framed within bars of gold,
arranged so as to give an artistic environment,
in the decoration of which an originally
applied foliage held prominent place.
The century following, this style was
replaced in turn by another of broader
and more florid character, principally
seen in the initials, which were formed
of branches, and in some instances of
animals, interlacing the design. The
terminals of these motives assumed a
faunal character, heads of animals ap-
pearing. The spaces between the orna-
ments were usually painted in light blue
or green, alternately applied. This
effective style of decoration changed in
transit to the following century and
became a remarkable and noble embodi-
ment of ornamental motives. Hum-
phrey considers it, perhaps, the noblest
style of illumination ever evolved during
the thirteen centuries of practice of the
art. "It is principally founded, ' ' says
this specialist, ' ' upon the scrolling acan-
thus, as exhibited in most florid Roman
friezes, but rendered infinitely more in-
tricate and the details treated in the
crisp and peculiar manner of the period
— the circling stems forming a more
prominent part in the composition than
the foliage '." This style he believes to
be the foundation of the well-known Italian
style formed of white interlacing branches on
vari-colored grounds, that arose about the mid-
dle of the fifteenth century, and was generally
applied to large initials, never in illumination of
borders.

Several styles arose in the thirteenth century.
One was properly a development of that which
was popular during the century preceding,
wherein greater intricacy of motive and appli-
cation dominated the design. Human figures
and fauna appeared, individual types of which
were interlaced in such a manner with the text

as to constitute its illustrations. As usual to
every era, there were those who passed the
boundary line of propriety, and hence we find
specimens wherein an arbitrary designing ap-
peared, devoid of interpretative suitability ; in
such cases the effect constituted the whole aim,
to the sacrifice of appropriateness.

Another type of ornamentation, also largely
the product of this century, and seen but rarely
in the twelfth century, arose in the form of large
squares occupying an entire page, or a large
portion of it, generally surrounded by small
mouldings, or rather borderings, of very delicate
design and execution.

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yxt& WiftmeiittK5r We die qw(

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tn$ <c <m\$C ftgttfe ^trtd con
ttmanf qtw^ttfiwfeut rtbife
re wine-

VINNE
FRENCH MANUSCRIPT OF THE FIFTEENTH CENTURY. I LACROIX. )

The styles of this century expanded, and
" early in the fourteenth century the irregular
bar or border, formed by the foliaged or dragon-
formed tail of some principal initial, gave way
to complete brackets formed of a vari-colored
bar, terminating at top and bottom in a clip or
branch formed of ivy leaves, the angular and
crisp character of which gave the highest Gothic
character yet developed by the art of illumina-
tion, and completed a feeling of pictorial deco-
rative art felicitously in harmony with the
decorative sculpture of the great architectural
works of the day." (Humphrey. ) Westwood

Si

THE EVOLUTION OF ILLUSTRATING.

illustrates the styles and patterns of this and the
two prior centuries, by calling attention to their
borders ornamented by long, scroll-like motives
springing from the capitals, often of red and
blue lines drawn with pen, or broader, more
ornamental and enriched ; and in which gro-
tesques were more or less lavishly introduced.
Other styles which appear in the fourteenth
century, exhibit ivy branches with interwoven
figures and mottoes, no inconsiderable skill be-
ing displayed in the execution. Several other
styles also became popular, brought into promi-
nence by the songs and recitals of the trouba-
dours, notablv a revival of the acanthus, as

fc*tv

xxytnavbat

FROM DE VINNE.

PAGE I ROM THE WONDERS <>!• ROME. (SOTHEBY.)

Original ;' \ v Engraved in 1471-1484.

superseding the more conventionalized and for-
mal ivy-leaf motive.

In the fifteenth century, the styles suffered
Still further modification; the ivy-leaf bracket
still held sway, but with changed characteristics.

A new border was developed Out of the old styles
in which two bands of a rich Gothic design con-
stituted an inner and outer strip branching " out
at the- centre and corners into minute ramifica-

tions of the ivy branch, sometimes mixed with
other features, and forming a rich, deep, lace-
like border of great regularity and beauty." In
the middle of this century the ivy-leaf motive
vied with several other styles founded upon
flowing foliage, and these were all ultimately
amalgamated into one cumulative type of orna-
mentation which constituted the later style of a
great number of manuscripts. " The symmetri-
cal arrangement was abandoned for one that
may be called picturesque, irregular portions of
the border being alternately occupied by the
ivy-pattern and purple or variously-colored
scrollwork formed of the flowing foliage above
alluded to. Various details were altered and the
ivy-leaf portions were further varied by intro-
ducing branches of different plants, those most
frequently used being the daisy, columbine,
strawberry, rose and occasionally the vine and
mulberry." ("Illuminated Books of the Mid-
dle Ages. ' ' Humphrey. )

At the end of the fifteenth century, a back-
ground was given to the illuminated borders,
and a blending of plant-forms occurred.

The sixteenth century ushered in an era of
reaction, taste seeking expression in novelty;
entire pictures were used to illuminate the bor-
ders and these were contracted within narrow
bars or strips. In the two centuries following,
simpler styles succeeded, and the printed book
had gained so great a position in the territory
of book-making as to absorb no little quantity
of the perquisites and prestige formerly enjoyed
by the illuminator and calligrapher. The for-
mer, however, found ample opportunity for the
exercise of his particular talents as the greater
majority of the books of this period used illu-
minated illustrations, head-pieces, borderings
and initial letters. From the outset of printing
the illuminator found room for his skill, and we
find some of the finest examples of his work-
manship in the printed books of the earliest
period. The manner of working was one of
mutual guidance, the printer leaving a blank
space at the commencement of his page, where
it was intended that the capital letter
should be located, and the illuminator after-
ward using his pen, brush and colors to adorn
the text. It was natural that the canonical
observances of older periods and customs of
illumination should exert a decided influence
upon the printed page of this early period and
such we find to be the case. Not only were tin
letters themselves direct copies of the calli-
grapher's originals, but the nnevenness of line
at the terminations of the latter, the peculiari-

82

THE EVOLUTION OF ILLUSTRATING.

ties of the initials, and the general character-
istics of the work. were. as directly an imitation
of manuscript writing and illumination as could
well be conceived. As time went on this was
modified and the introduction of newer concep-
tions as to what constituted fitness in the effect
to be given a printed page, and the illustration
accompanying it, induced different results.

Of the work in this line which was executed
by the illuminator, not a few examples attest the
excellence; the noble Bible of Faust and Schef-
fer with its capitals furnishes the palaeographer
with the finest types of German illumination of
this period. Frequently these letters ran the
entire length of the page, and their overrunnings
gave abundant room for the imagination of the
artist to display itself. To such initials later
allusion will be had.

land to render the public familiar with these
numerous specimens of the higher range of
artistic composition and design which abound
in the illuminated manuscripts, and upon which
Cimabue and Giotto, Van Eyck and Van Ley-
den, Albert Diirer, Girolamo dai Libri and
Julio Clovio, with a host of less celebrated, did
not disdain to employ their talent."

Any one who has been fortunate enough to
glance through the collection which Mr. West-
wood has assembled for his readers within the
covers of his magnificent work will agree with
him, and will readily admit the beauty resident
in these precursors of modern illustrating, for
while there is no similarity in method save in
the means of applying accessories — and even
these time has effectually changed to meet the
varvinsr demands of new ideas and better me-

tlotttetpeppofimaitjs^at:
tibwa 0^atoi0 fignif cattotf
kmmt rompkt autmuf ar

fittonts atficafus: ur atr. a pun . ante,
atmtrfism* ti&ntra.aft«xto> ritfm

FROM DE VINN<=.
F AC-SIMILE OF PART OF THE DOXATUS IX NATIONAL MUSEUM OF PARIS. (LACROIX. )

In a very valuable work upon the ' ' Illumi-
nated Illustrations of the Bible ; copied from
Select Manuscripts of the Middle Ages, ' ' which
abounds in superb specimens taken from these
original remains, J. O. Westwood, F.L.S.,
thus appreciatively comments: " Many of these
highly valuable works 'tis true have lately been
resorted to for the purpose of giving to the
public illustration copied from these illumina-
tions, but in most cases it has only been for the
ornamental details and borders and of the beau-
tiful and elaborate capital letters with which so
many of them are enriched. It is, indeed, sin-
gular that with these exceptions scarcely any
attempt has been made in this country i Eng-

chanical adjuvants — there is a splendid lavish-
ness and artistic quality not seen in our modern
work, and we are thus enabled to adjudge the
times at their just artistic worth. A veritable
treasure awaits the investigator in this field, and
the publisher who wishes for specimens of deco-
rative initials will find some of the richest and
most beautiful ever executed.

The period of the block book marks the intro-
duction of attempts to mechanically render the
page of matter into a form permitting of ready
duplication. Advancement was slowly trending
in the direction of typography, and the rude
woodcut with its design cut lengthwise of the
grain, afforded a raised surface, and, after a

v«

THE EVOLUTION OF ILLUSTRATING.

short time, a printed proof. As the country and
the precise time of the first block-book are very
difficult to fix, we are not in possession of
decided dates, but the approximate periods and
nature of the illustrations comprised in these
earlier remains afford us interesting materials
for glancing over what may be called the transi-
tional period of illustrating, etc.

In "A History of the Art of Printing," pub-
lished in London, 1867, and which is replete
with interesting and rare fac-similes from origi-
nal sources, H. N. Humphrey points out the
advent of block-books as having been seemingly
led up to in the following manner: " The elabo-
rate decorations of manuscripts of the best class
rendered them very costly, while the general
revival of learning which occurred about the
periods just named, caused such an
increased demand that the art be-
came generalized, and the trade en-
sued."

lift UfiltttOQ tD$P*tEtntfl

^imiSiontattifeoGiirapmtt)
aoQ^ calamrulIacfaratttotCri

biamMtoimttrkcttofimimaii

FROM OE VINNE.

CONSIDERABLY REDUCED FROM COLOPHON OF
PSALTER OF I457. (PALKENSTEIN.)

In a manuscript of the tenth century, the
"Historia Biblics Figuris" a fac-simile from
which is given in the foregoing work, is a page
of manuscript illustrated with designs in outline,
such as were afterward imitated in the block-
books, the drawing being run into the text and
the margination preserved intact.

The following instances noted by the writer
will afford a few scattered peculiarities of the
early printed books, the majority being legiti-
mate specimens of typography and not block-
books.

An initial in the block-book known to us under
the name of the "Ars Moriendi" is a crude
example of imitation at the time; the initial is
run into the text and an attempt is made at
decorative treatment by use of the scroll motive.

On a page of the " Cicero," printed by Faust
and Scheffer, at Mayence, in 1466, the illumina-
tions run along in the manner characteristic of
preceding periods. Borders surround the page,
and a block initial is set squarely into the text,
other examples of these capitals running into
the margins wdth a decorative intent.

On the first page of Boccaccio's "Misfor-
tunes of Noble Women," printed by J. Zainer,
Ulm, 1473, occurs an interesting initial S, with
a border at the head, extending above it in
ornamental fashion and running down the mar-
gin parallel with the text, and treated in a pic-
torial manner as to design, similar to manu-
scripts already noted. This work also shows an
illustration at the head of the page in a style
used far later, the initial being set into the text
below the illustration thus located. This cus-
tom was oft-repeated. In some of the early
books the ornament was purely arbitrary and
evidently intended as solely pictorial, but in the
main the tendency seems to be in the direction
of pure ornament rather than pictures.

On the first page of the " Aristotle," printed
by Aldus, at Venice, 1495, occurs the distinctive
head-piece, purely ornamental, which had been
long antedated in illuminated work. It is of
scroll-like design, with interlacements. An
initial set into the text, with margin intact be-
neath title, appears upon the page.

In the " Royal Book," printed by Caxton in
1484, the illustration is set at the left top of the
text with initial to the right, rather an oddity in
later times, but at the period quite common, the
text being twice overrun — once around the in-
itial and once around the illustration.

A page from the ' ' Romance of Fierabras, ' '
printed at Geneva by L,oys Gaebin, A.D. 1483, has
the illustration of same width as the text-page, set
at the bottom of page, with block initial squarely
inserted into the text at the head of the page.

In a page from the ' ' Prayer Book ' ' of the
Emperor Maximilian, 15 14, a rubricated line
constitutes the ornament, each line being accent-
uated by a red line beneath and the entire page
thus surrounded. The initial is also in red.

Upon these and various minor modifications
of similar methods, the later developments of
book-making arose. Our illustrations exhibit a
few early specimens, and if the methods of
those days are better understood, they will have
fulfilled their purpose. A subsequent article
might consider the initial letter, in its relation to
the printed page, when the products of different
periods should receive illustrative treatment.
Harold M. Duncan.

84

&onn.eau j-t

P L I N Y's EPISTLES.

BOOK V.

EPISTLE I.

Pliny to Catilius Severus.

SMALL legacy is fallen to me, but
more acceptable than the largefL Why
more acceptable than the largeft? Pom-
pon i a Gratilia having difinherited
her fon, Assudius Curianus, left
me one of her heirs, and appointed Ser-
torius Severus, a man of praetorian
order, and other eminent Roman knights, coheirs with
Vol, I. A a a me.

FAC-SIMILE FROM ORRERY'S PLINY, PRINTED BY JAMES BETTENHAM FOR PAUL YAILLANT, IN THE STRAND, I75I.

44o PLINY's EPISTLES.

All laws were originally founded on juftice, wifdom and candour :
They are ftriftly adhered to, and rigoroufly executed in the firft fet-
tlement of a ftate. And while fuch a due obfervance of equity and
uprightnefs is maintained, the magiftrates preferve their juft power,
and the people their juft freedom. But time and profperity produce
indolence, avarice, and numberlefs other evils, which undermine the
foundations of juftice, and by degrees bring the fuperftru&ure to the
ground. In our author's days the Roman government was moulder-
ing into decay: and although Nepos, and other particular perfons,
even Trajan himfelf, endeavoured to revive the ancient virtue, and
to recover the ancient conftitution ; yet all thofe endeavours were
without fuccefs; or, at moft, were only lightnings before death: for
corruption, in whatever kingdom (he has an opportunity to eftablifh
herfelf, never quits her fituation, till, like the plague, (he leaves,
not the traces of humanity behind her.

The End of the Fifth Book.

::i.l. I K<«M ORRERY'S PLINY, l"i. SHOWING PICTORIAL CHAPTER ENDING.

PRINTED IS THREE COLORS

BY THE COLORTTYPE COMPAX1

W. KURTZ PKSSIDEM

-

BOOKBINDING: STUDY OF A PRACTICAL FRENCH BOOKBINDER.1

THE ROUTINE.

communicated to us shows to
what extent certain workmen
are enslaved by the routine.

One of our best and most
artistic hand-gilders, desiring
to annex a bindery to his
establishment, applied to an
excellent manufacturer of tools to furnish him,
upon the best terms, with a complete and care-
fully chosen outfit of the usual appliances and
materials required by a bookbinder engaged
only in artistic and library work. Everything
was installed in a suitable locality, and it was
only necessary to add a body of employees ( a
picked one) to complete his establishment.

He therefore selected a good workman, a fin-
isher, a backer (for body work), and a workman
perfectly well acquainted with the work of for-
warding, sewing, etc. The backer was one of
those old workmen who are, above all else, at-
tached to their own habits, and on entering the
workshop and looking at the array of beautiful,
entirely new tools, heaved a sigh that might
have moved a rock.

The employer was surprised, thinking he had
done his best, and asked the man what he
thought of the outfit, directing his attention to
the finish and the accuracy with which every
one of the tools worked. "Yes, they are per-
fect; some work may be done with them. How-
ever, I do not know whether I could, in their
condition, produce such careful work for you as
I could with the tools at my disposal before I
entered your service, and to which I was accus-
tomed for a great many years. Ah, sir ! if
you had consulted me before fitting out your
workshop, I would have bought you some old
second-hand tools which would not have cost so
dear, and with which I could have been more
sure of my work !" And then he added the
trite paradox : " Believe me, sir, it is still in the
old pots that the best soups are made."

Imagine the old pot set on an old stove, to
which a foot if nothing else is wanting, beside
an old table with the old clouts; and, since we

1 Originally written for the Revue des Arts Graph-
iques, by Em. Bosquet. Translated into English by his
personal courtesy.

are at it, why not some old beef with old vege-
tables, etc.?

Oh, you who, having nothing else to do, have
patience enough to read these lines, if it ever
occurs to you to set up any kind of a workshop,
and to buy your own outfit of tools, recall to
your mind the old pot, etc.

This bookbinder, one of our most renowned,
having noticed that the material of the morocco-
coverer whom he had employed for many years
in his establishment, was becoming rather de-
fective, said to him : " I notice that your dress-
ing- ( or trimming- ) stone is very much worn out;
I am going to order another, and a rather larger
one; that will facilitate your work. ' ' The work-
man thus addressed started, and, far from assent-
ing to the proposition, protested that the stone
was excellent, that he was accustomed to it, and
did not desire to have another.

"But," urged the employer, "it is so much
worn that the place where you manipulate your
knife is really dug into a hole. " " That does not
matter; I am so accustomed to it that it facili-
tates my work." "Ah, indeed ! and your knife ?
I see that it is as much worn as the stone; and
if you continue to use it, no matter how little,
you will very soon dress up your leather with
the handle." "I do not know, sir, what in-
duces you to complain of me to-day (sic); no
fault, however, can be found with my work."
And, in fact, it was undeniable that the excellent
man, excepting a habit he had of sometimes
delaying his work, had a gentle, conciliatory
disposition, and his intercourse was by no means
disagreeable. He had by degrees accustomed
himself to that hole, which had already served
him more than one bad turn — a fact which he
would have never confessed; he had dug it out
little by little, and his hand became inured to it.
Nobody else could have dressed any kind of
material thereon, as he was eventually unable
to make use of it himself.

The routine, under more or less odd forms,
is to be found in every branch of the trade, and
as much, if not more, in the use of tools as in
the work of hand ; we will endeavor to mention
the most remarkable cases, following the differ-
ent stages through which a volume has to pass
in the process of binding.

87

BOOKBINDING: STUDY OF A PRACTICAL FRENCH BOOKBINDER.

The first question that presents itself is that
of the ' ' formats ' ' ( sizes i . Although the names
and dimensions of these are theoretically and
scientifically established in such a way that a
good judgment renders them easy of conquest,
it will be many years before their exact titles
and dimensions are generally used,1 as will be
admitted by any one who is willing to study the
question for a few minutes so as to demonstrate
it to others who are interested in knowing.

If we were dealing with a new science, with
a recent discovery or with a new and more or
less arbitrarily-established rule, it would not be
the routine that we should have to blame, but
rather those who, having established the rule,
did not render it sufficiently intelligible to
the mass of book-makers, as well as to the
bibliophiles. But the names as well as the sizes
of the ' ' formats ' ' appeared at the same time as
the book itself, which is the result of dividing
any sheet of paper into as many parts as is
deemed suitable to form the signatures of which
the book is composed.

One of the oldest " formats " is that which is
known by the name of raisin. It received and
has retained this name ( which in French means
4 ' grape ' ' i because the representation of a bunch
of grapes was used as the water-mark for this
paper, and the imprint was set upon it by the
form employed in manufacturing. The word
' ' format ' ' being derived from the form or mould
in which the paper is manufactured by hand,
the word "raisin" i the mark borne by the
form i indicated the size of the form. It was,
therefore, perfectly logical that the sheet of
paper originating from this form should retain
its name, in order to distinguish it from other
papers growing out of larger or smaller forms;
and hence, the name of "format-raisin." The
sheet kept flatwise or in a plane received the
name of " in-plano-raisin;" the same sheet
folded in two equal parts was called " in-folio-
raisin;" the same sheet folded in four parts,
"in-4°-raisin;" folded in eight parts, " in-8°-
raisin," and so forth, according to the number
of pages of a book furnished by the sheet folded
or cut into so many equal parts. Finally, cut a
sheet of "raisin" paper into sixty-four equal
parts, and yon have an " in-64°-raisin."

It is the same with the eight formats or sizes
of paper used in the French book-trade, and
which, with some rare exceptions, are univer-

sally employed. These are: the "Ecu," the
" Carre," the " Cavalier," the " Raisin," the
"Grand Raisin," the "Jesus," the " Soleil "
and the " Colombier." These designations are
generally known and employed by the printers,
those who establish the form and size of the
book ; why, then, are they not employed, or if
employed at all only imperfectly, by the book-
binders and the bibliophiles ? Such a method
would be simple, logical, but — oh ! the old
routine ! and they will tell you : This is a vol-
ume in-8° ; this is a large in-8° ; this is an
extra large in-8° ; this other is a small in-8°,
and this a very small in-8°. Where do these
fancy names begin and end? The}* are judged
by the sight — the sight of your present inter-
locutor, or by analogy with other volumes on
hand ; others, not having the eye of your last
interlocutor, or in the absence of similar terms
of comparison, will give you entirely different
information. Then they will tell you: Here is
a " compact !" It will be thus named even in a
price-current list, without their being able to
tell what it means or why the name is given to
the size of a book.

Certain practices in use for preparing the
book for sewing indicate how far the routine
may be injurious, not only to the work, but to
the book itself. The object of preparation for
sewing is not merely to make the book ready to
be sewn, but also — and above all — to preserve
the first and last sheets from damage of every
kind to which they are liable in the course of
the binding. The modes of procedure differ in
rather marked manner in the different work-
shops. There are first-class houses which em-
ploy excellent and more or less costly means; it
is not necessary that we should name them here.
We have, on the other hand, indicated the sim-
plest means, which consists in surrounding the
back of the two first and last signatures with a
guard-strip, to preserve them, as well as the
back of the blank fly-leaves. But most book-
binders, before the book is sewn, put the blank
fly-leaves on and paste over them the cover of
the stitching, or any other more or less strong
paper used as a guard, with a thread of paste
two or three millimetres wide.

The flats of the first and last leaves of the
volumes, as well as the fly-leaves, are then pre-
served from becoming soiled in any way during
the process of binding. Admitting that this

the Traiti thiorique ft pratique de Pari da
rein at . chapter on " formats," page i". and those follow-
ing, with a t.ibh annexed. We prepared and had
printed, on strong Colombier paper, a table of the for-

mat- used in tlu- French hook trade, with the exact
nanus and dimensions established on the hoards of the
bound or hoarded volume. Apply to the office of the
Revue des Arts Graphiques, Rue de Fleurus. 9, Paris.

SS

APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING.

provisional pasting sticks fast during this time,
it happens that after the volume is covered with
the leather, etc., at the moment of detaching
the guards, the blank fly-leaves are more or less
torn on the side of the back, and, to cap the
climax, the back of the first and last leaves also,
when the paper is not very strong. We then
see the workman smear the back of these leaves
with flour paste, the latter spread on both sides,

and what is the result of this botching? The
fly-leaves, which were double, become single
leaves, and the beginning and the end of the
volume are not only illy secured, but also present
the most deplorable effect to the eye. The
routine will tell you : It is done much quicker
in this way ; but it will be careful not to speak
of the time lost afterward, and of the hodge-
podge resulting therefrom.

Em. Bosquet.

APPLICATION OF HISTORIC STYLES IN ORNAMENTAL ART TO MODERN

BOOKBINDING.

RENAISSANCE.

Copyrighted, 1SQ3, by Wm. M. Patton.

We have now arrived at that period in which
the products of all arts attained their highest
development — the sixteenth century, the era of
the Renaissance, when almost every artisan con-
tained within himself an inexhaustible reservoir
of art and originality, when in all branches of
the arts and industries were manifested the
most refined and unerring taste, the most har-
monious sentiment, and the most inventive
genius that ever influenced the course of epochs.

The main and charac-
teristic trait of this re-
naissance period is, in op-
position to the religio-mys-
tic tendency of the middle
ages, pronouncedly real-
istic. Favored by events
of such universal impor-
tance as the invention of
printing and the Refor-
mation, a higher intellec-
tual culture was every-
where developed, and one
which had no longer any-
thing in common with the dry schematism of
the Gothic period. The great intellectual in-
heritances of the Greeks and Romans were
entered upon ; the foremost minds of the period
investigated and ardently studied classic art ;
while, simultaneously with the progress thus
attained, they endeavored to more profoundly
comprehend and grasp the interchangeable ap-
pearances of human life and nature, and to apply
the results thus attained to all of their dailv

ENAISSANCE CARTOUCHE.

surroundings in the beautification of all things
with which they came in contact. Thus, the
Renaissance — the rebirth or renewal of the an-
tique— was evolved in fullest splendor. It is
the style of the classic epoch, rejuvenated,
enriched and ripened by the vigorous elements
of modern life, modern thought and modern
research. The great transition from medieval
art to the renaissance was effected during the
fifteenth century in Middle Italy. An especial-
ly rapid progress was
made toward it in highly-
educated, refined and ac-
tive Florence, where, un-
der the influences of the
Medici, arts and sciences
were fostered with un-
usual care and profound
enthusiasm, under their
protectorate, decorative
art was raised to a truly
ideal standard, becoming
enriched with all of the
unlimited creative im-
pulse, all of the great ideas, all of the wealth
of knowledge and all of the great love for truth
which the artists of that period, as men of broad
culture and marked individuality, were able to
bestow upon it. Is it surprising that under such
circumstances ornamental art received a wholly
new and enlarged character ; that it emanci-
pated itself entirely from all architectural
dominion ; and that it spread so rapidly over all
objects of the industrial arts, covering them

APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING.

with its newly-devised motives of indescribable
grace and freedom? Those great artists and
master craftsmen having a thorough knowledge
of, and a complete control of, all art trades, were
soon discontented with applying the customary
decorative elements as left by their forefathers,
and adopted a further and wider application of
the human figure. This they interwove skil-
fully into the scrollwork of the widely-used
acanthus, connected it intimately with the orna-
mentation by letting the foliage grow out of the
body or the mouth of a human figure ; then
allowed it to roll itself
up in delicate flour-

in
ishes, which in their
turn are again gathered
up in their entwine-
ments and branches by
the hands of the figure ;
or the figures grow out
of flowers and petals in
a most graceful and
ingenious manner, or
else clamber about the
scrollwork in the guise
of imps, genii and
of winged amorettes.
Famous artists, like
Raphael, Michelan-
gelo, Cellini, Bram-
ante, Romano, Vignola
and numerous others,
whose names will shine
forever as guiding stars
upon the horizon of
other domains of art,
applied their master
minds to the advance-
ment of ornamental
art and developed it to
a splendor that has
never been surpassed
in any other period,
either before or after

them. This epoch of the renewal of antique
art is also commonly designated as cinque-cento ',
because its duration was from the beginning to
the end of the sixteenth century. It exhibited
in its sculptures and paintings the most glo-
riously-displayed ornamentation of the period,
and, spreading over all Italy, reached France
under the reign of Francis I. and Henry II.
Simultaneously with this advance it spread over
all Spain and Portugal and, blending with the
Moresque then predominant in those localities,
and from which it appropriated numerous ele-

KENAISSANCE CARTOUCHE.

ments, grew into a peculiarly romantic and
charming style. In its struggle for supremacy
with the Gothic, the new style was carried on-
ward in its triumphant march from thence to
Austria, Germany, the Netherlands, and later,
also, to England, when it reached its climax
at the end of the sixteenth century and gradu-
ally degenerated from the renaissance into the
baroque, which finally led to the rococo.

As new decorative elements, the renaissance
introduced the cartouche, a framework of shields
or medallions, with portraits or heraldic devices,
resembling capricious-
ly arranged straps of
unrolled vellum, en-
riched with flourishes,
foliage, masks, etc.
The nude framework
of the cartouche blends
most happily with the
indented contours of
the acanthus, with fig-
ures, masks, ribbons,
flowers, fruits, festoons,
vases and all imagina-
ble expedients of a
charming and artistic
fancy. Of all the
foliage used in this
period, the classic acan-
thus was accorded the
place of honor, on ac-
count of its great flexi-
bility, picturesqueness
and general adaptation.
This foliage, in all its
elements strongly re-
sembling nature, was
like all good orna-
ment simplified and
artistically constructed
and, with the elegant
flourishes and contours
which were given it by
the great masters, grew to be the universal favor-
ite, admired and affectionately regarded by all.
Its elements consist of stalks, straight or
curved, ribbed, fluted, reeded, twisted and
spiral ; then of joints, leading to sheaths from
which the stalks ramify or throw out leaves,
and then, becoming more and more complicated,
they assume the cup-like form of what are
technically called nests, composed of many
leaves from which shoot up the stalks and
spirals which compose such a scroll as that of
the Medicean pilaster.

^S

90

APPLICATION OF HISTORIC STYLES TO MODERN BOOKBINDING.

#?

How advantageously this foliage can be util-
ized upon bindings, an accompanying design,
with monogram U. F. in centre, will show. A
bold cartouche forms the centre of the ornamen-
tation, while the remainder is covered with a
symmetrical framework, intergrown with acan-
thus foliage, which evolves at the lower half out
of dolphins, and at the upper out of the mouth
of a mask. I executed this design in incised
leather, but it would be
just as applicable for
tooling, as all of the
forms are greatly sim-
plified in their contours.
A geometrical border,
composed of linear ele-
ments, gives relief to the
rich formation of the
finely animated foliage.
All of the classic bor-
ders composed of linear motives were adopted
in the renaissance — the cyma, ovolo, torus,
flutes and dentils, scales, plait, zigzag, guilloche,
money-string, beads, egg and tongue, quadroons,
pearl-strings, meander and others — and were
varied and multiplied in countless new combi-
nations. That beautiful results can also be
obtained in this style, an accompanying original
design for Dante's "Inferno" shows. Befitting
elements and motives from the sixteenth cen-
tury have here been
combined into a
book-cover of very
great adaptability.

(Only the strictly
first-class finishers
need here apply. I

It will hardly be
necessary in this
connection to men-
tion the fine bind-
ings which this
period matured, as
names like Grolier,
Francis I., HenrylL,
M ai < >1 i , and Canevari
with others, which
have left us their legacy in the form of hand-
somely bound libraries, will forever ring with
deserved popularity in the ears of our crafts-
men. Besides, they have been treated according
to my estimate of their proper deserts in my last
essay written for PAPER AND PRESS on the
" Development of the Art of Bookbinding."

If, notwithstanding this, I offer a few illus-
trations of renaissance bindings, it is because

,Jsv^

sy^^^^

RENAISSANCE CARTOUCHE

REN VISSANCE CARTOUCHE

the present work would not be complete without
them.

Let us ask ourselves wherein the great charm
of these renaissance bindings is to be found.
Does it reside in a fine and perfect workman-
ship ? Does it consist in the application of deli-
cate, harmonious colors — colors that have gained
additional charms in being mellowed down by
the influence of light and temperature to which
they have been exposed
during all the centuries
of their existence ? Or,
does it repose in the
applications of rich and
artistic designs — de-
signs that were perfect
as they in every detail
were conceived by the
master minds of their
producers? Our answer
must be, No ! There is no renaissance binding
that has not been surpassed at the present day
by skilled modern craftsmen in the point of
perfect and painstaking workmanship, notwith-
standing the cry that is constantly being set up
against the products of modern enterprise by
enthusiasts of the past. There is none, more-
over, that has not been surpassed in the applica-
tion of delicate, harmonious colors ; there is none
that has not been equalled in rich, artistic de-
sign. I ask, where-
in, then, does theii
great attraction con-
sist ? Not in better
workmanship, not
in finer chromatic
combinations, nor
in richer designs;
but it consists in the
intensified variety
of the ornamental
elements, in prop-
perly and finely pro-
nounced contrasts,
which have been
attained by bring-
ing into juxtaposi-
tion two opposite qualities ; it is the source of
vivacity, brilliancy and force. If a composition
appears dead or monotonous in spite of all skill
and richness of detail, you will know that it is
wanting in contrast. What, moreover, can pro-
duce a better contrast than delicate foliage and
floral scrolls, climbing and winding through a
geometrical framework, divided by and encom-
passed within borders of linear motives? It is

REN AISSANCE CARTOUCH K .

92

ORIGINAL DESIGN BY OTTO ZAHN.

BINDING IN RENAISSANCE STYLE. SIXTEENTH CENTURY

SOME RECENT AMERICAN INVENTIONS.

this contrast that was so perfectly understood by
the great binders of the past and that charms
us even in their plainer creations to such an
extent as to almost make us forget the deficien-

cies of workmanship, the inexact miterings of
the finisher, and the often deeply and irregu-
larly impressed and burned stamps, upon which
our vision falls with decided disappointment.

Otto Zahn.

^_

SOME RECENT AMERICAN INVENTIONS.

The monthly record of patents issued in the
United States exhibits little of specific import-
ance or essential novelty. Such few devices and
improvements, however, as have appeared, de-
mand review.

The Alden type-machine, which will be re-
membered by our older readers, still continues
to be the subject of experiment and attempted
reconstruction. This machine, which was in-
vented in 1836, and the original specification of
which we have in our possession, was very com-
plicated, and never reached a degree of effect-
iveness which could be termed practical.

The present patents have been accorded to
Louis K. Johnson and Abbot A. Low, Brooklyn,
assignors to the Alden Type-Machine Company,
New York, which has evidently been rehabili-
tated. The first covers a plurality of type-con-
taining channels, one common platform for the
types being attached and upon which are con-
verging guide-walls. A type-forwarder is pro-
posed, formed with a concave edge for contact
with the heels of the types. A horizontal guard
is arranged over the platform to prevent the
types from turning upon their longitudinal axes.
The forwarder is retracted to its normal position
by automatic mechanism, and is operated by
means of a finger-pull with trigger handle.

The second patent, applied for two months
later, modifies this by using a reciprocating
type- forwarder, consisting of a plate of less
thickness than the width of the types; this plate
is formed with ribs which increase the thickness
of the plate beyond the width of a type, the
front edges of the ribs being inclined and end-
ing back of the front edge of a pusher-plate.
Under the action of the compositor's fingers the
push-bar would release a spring pawl while
grasping the previously advanced types for re-
moval, operating automatically to repeat the
operation.

A M u 111 m; for making paper boxes has been
invented by Ilenrie I). Stone, Boston, and
Charles Thibodeau, Somerville, assignors to
Janice S. Newell & Co., of the former place.

The mechanism has folding-plates for the ends
and sides of the box, located in different hori-
zontal planes, a paste-box, with supply ing-rolls,
and a movable plunger having independently
movable wings extending laterally from its ends
to carry the tabs of scored stock into contact
with the pasting-rolls and bend the tabs at right
angles to the sides. Briefly speaking, the ma-
chine comprises platen-presses movable toward
and from each other in a plane opposite the
lowermost position of the plunger and below
the lower folding-plate.

A machine for making and printing envel-
opes is the invention of Charles A. Teal, Holy-
oke, Mass., who assigns to the Holyoke Envelope
Company. The mechanism takes the paper from
a roll, and converts it into finished product, the
printing mechanisms constituting intermediate
features of the operation. It would require too
much space to describe the machine, which evi-
dently possesses great practical value.

Philip Vandenburgh, Cleveland, O., pro-
poses a dry adhesive paste, and patents the pro-
cess of manufacture, etc. He first mixes the
flour and water to make a dough; then ferments
this dough until it becomes sour and most of its
albuminous constituents are decomposed. He
then cooks the fermented dough at a low heat
and evaporates the moisture therefrom, conclud-
ing the operation by pulverizing the resultant
product.

An envelope is the invention of Charles M .
Carnahan, Newport, K\\, in which the end flap
combines with a strip of metal having two tangs
passed ontward through the body portion of the
envelope. One of these tangs is passed through
the flap and compressed downward thereon
toward its point, while the other tang is com-
pressed and bent upward, overlapping the point
of the flap when closed.

The invention is another to be added to the
already large number of such devices.

M

ORIGINAL DESIGN BY OTTO ZAHN.

BINDING IN RENAISSANCE STYLE. SIXTEENTH CENTURY

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

METHODS AND REMAINS OF EAREY PERIODS.

Paue Adam is well known among European
binders, and especially those of Germany, for his
contributions to the technical literature of the
art, and the appearance in the Buchgeiuerbeblatt
of a series of articles, which ran through several
numbers of that enterprising and interesting
European contemporary, affords us an oppor-
tunity to present some results of his research
within a very fertile department of bookbinding
to the members of the craft in the United States.
The illustrations accompanying his article have

COLOGNE ART-INDUSTRIAL MUSEUM.

IMPRESSED PATTERN, PREVIOUSLY TREATED WITH PATRONEN
(PROBABLY G. C. STOY, AUGSBURG, COLOGNE, ETC.)

been reproduced, and its text rendered into
English as faithfully as sense would permit : —
The bookbinding industry of the present day
can no longer be contemplated without the
mental images of a multitude of embossed and
printed papers arising, and one finds himself
concluding that the interior and exterior of a
book in former times must have been very
dreary and uninteresting without such adju-
vants. That such was not the case, however,
all collections of bindings and all ancient libra-
ries will demonstrate, these latter further evi-

dencing the fact that all colored papers of the
present are, indeed, but cheaper and simpler
substitutes for the leathers and wroven stuffs
formerly utilized for the purpose.

The oriental workman — as long as we do not
extend our inquiry into Eastern Asia — used
paper upon his book-covers only to the most
extremely limited extent, and then, for the col-
ored foundation of his broken decorative work
alone. Not until after the Western Hemisphere
began using paper for bindings did the Orient
adopt the same prac-
tice, and, as the pro-
ductions of the latter
commenced retrograd-
ing, so far as technique
was concerned, at the
same time, the bindings
of that period have lost
in value to such an ex-
tent that they cannot
be compared in any
adequate manner wTith
former productions.

We can state with
certainty that colored
papers were first intro-
duced at a time when
paper itself was manu-
factured in large quan-
tities— the period o f
one of the greatest
inventions which our
modern history has to
chronicle, the inven-
tion of the art of book-
printing. We may not
say that these colored
the progress was one of
slow development in connection with the use
and manipulation of similar substances. Of
this we know very little; standard publications
which deal with the subject do not exist, but the
very modest beginning here made as an experi-
ment convinces me that materials will soon in-
crease for more extensive research. We will not
need to go very far back, and besides it is natural
to infer that colored papers of the earlier periods
are everywhere to be found, owing to their
extensive utilization. As up to the present,

papers were invented

96

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

however, not considering the small quantity of
such remains in public and private collections,
the material for investigation has been wanting,
it has been doubly difficult for me to begin, and
I offer the following solely in that light. To
this reason is to be ascribed my hesitancy in
offering dates, and such can only be substantiated
by a methodical search through the books
of old trades-unions. Such matters as could
be treated broadly and technically have, I
hope, been dealt with to the exclusion of
error. Let me trust that the restriction of
my research to the papers in the Cologne
and Diisseldorf Museums, and to a small
private collection, will not militate against
the weight of the present article. At present
more material would be useless, the amount of
comparison and investigation already neces-
sitated by the materials at my service being so
laborious and extensive as to require much
space were the collection of specimens very
voluminous.

Leather tapestry and woven fabrics preceded
colored papers, the woven tapestry
being accepted as older than that of
leather, upon the basis of ancient
technology. If we are to include the
woven fabrics and rugs which were
used as wall coverings, this assertion
may be correct; but as an indepen-
dent tapestry, industrially produced,
leather tapestry must be regarded as
the oldest. Without doubt the latter is of
Arabian origin, and was a development from the
stamped leather covers always to be found in the
interiors of Arabian and Turco- Arabian bindings.
An identical technique, and very similar patterns
to those noticeable in the small sections of such
leathers are found, considerably enlarged, in
the older uncolored leather tapestries. These
book-interiors were evidently stamped or printed
with wooden models cut to the size of ten centi-
metres in every direction, according to dimen.
sions of the pattern to be repeated. As the sheep-
skins and goatskins thus used have been worked
out so exceedingly thin by hand that with all
our machines we may not equal them, and as
we are able to measure the considerable size of
the uncut skin by observing the repetitions of the
pattern on the leather, we are forced to con-
clude that the production of such leathers must
have been a special branch of manufacture.
Hence, this leather was undoubtedly used for
other purposes, such as the inside coverings of
boxes, etc. While I have no further proof, I am
convinced of the validity of the statement as

made. Upon the other hand, it is also possible
that patterns employed in printing fabrics were
either used by the leather-printer or else sepa-
rately produced for the latter by other makers.
The only colored paper that I know of in
connection with very early bindings is to be
found on oriental bindings, and it is mono-

Mn3/r&mwzpZs

myj&xm*t

FIG. 4.

chrome, either brown or apple-green. Its entire
character denotes it to be of oriental origin.

A decoration much in vogue on colored as
well as uncolored papers was effected by the
spatter process. By filling a brush with pig-
ment and then rubbing the finger or a small
stick against and over the bristles, a fine colored
spray was projected upon the surface, similar to

FIG. 8.

modern spatter painting with the screen or sieve.
In the majority of cases gold and silver were
the colors sprayed on in this manner, many
oriental miniatures also exhibiting this species
of simple decoration on environing borders. It
was always the interior of the book-cover that
was so decorated, never the outside, for in those
days paper was mainly used in the unimportant

FIG. 5.

portions which were not subjected to much hand-
ling, and which hence did not show the wear.
In Turkish binding colored paper was used
with much success, the paper having an appear-
ance of a delicate, open-worked leather, stamped
and gilded, and resembling filigree. This
covering was so made that a network of sym-
metrical fields included finer ornaments. An

97

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

equally large surface, corresponding to the forms
of these fields, was colored by means of a model,
so that while constituting the basis of the
leather pattern, isolated parts were given a
differently colored ground.

I will subsequently show that this art, which
can be traced with certainty to the fifteenth
century, was imitated in the Occident, naturally
with other tools and not in the same artistic
manner; we thus have, in the oriental book-in-
terior, the first and most beautiful forerunner of
colored papers.

With regard to marbled papers used in later
works, I am in doubt as to whether they are of
oriental or occidental origin. As a general
thing these papers bore large marbled patterns
in dead colors, such as are known at present as
' ' vanda-marble. " It is regretted that the dates
of many of these oriental bindings must remain
unauthentic; the figures usually given are based
upon the statements of collectors and cannot be
vouched for, nor can the}- be verified when
specimens prior to the sixteenth century are in
question. I believe that most of the types of
these papers now owned and in the various col-
lections are of less age than the collectors and
dealers themselves have
led the owners to believe. — — — ^— —

It is certain, however,
that the invention of book-
printing exercised the very
greatest influence upon
both paper-making and
paper-decorating, and although wall-papers did
not come into existence until much later, the
leather tapestries and printed fabrics had their
effect in developing the production of colored
papers. The introduction of large presses into
the printing and binding industries — especially
the old form of presses — tended toward the pro-
duction of large impressed surfaces, and when
the stamped bindings from large engraved wood-
cuts and metal plates came into vogue, the bin-
der had at his hand all of the tools needful for the
production of colored papers. That this really
occurred in the way hinted at (the manner also
being included in which it was accomplished ) is
shown in two small jewelry boxes in the Art-
Industrial Museum at Diisseldorf. Both are of
wood, in the usual trunk shape of the time, and
are covered with paper; this latter is colored
and stamped in gold by means of a block, the
same as was used for binding in the latter half
of the sixteenth century. The single ornaments
of the border around the plate are printed in
different colors; this, however, was accomplished

FIG. 9

before the printing in gold, and not afterward.
The remarkable feature of the work is that the
plate used in decorating the box is also used in
decorating a pigskin binding in the same collec-
tion. The small border on the lid of one box
is covered with the paper on which the book-
binder had previously printed one of the rolls
in gold.

In this way larger blocks have been also
stamped upon sheets.

Most of the patterns, and the most beaiitiful
papers of this kind, were produced in Italy ; I
have, however, restricted my work to German
material, the specimens at my disposal consist-
ing mainly of such productions.

I am not certain wdiether impressed prints
preceded the stamped papers or not;' common
sense would point to such a conclusion, and
yet, papers of this kind are not often found;
most of those at my disposal, so far as they
are not classifiable among the group of cotton
papers about which something will be said,
are of a later period. A very beautiful little
piece lies before me, printed on gold paper
in such manner that a delicate ornament in gold
remained. Judging from appearances it must
have been an able German
'■ master who engraved the

block; each blossom in
itself is an artistic concep-
tion, but it evidently be-
longs to the second half of
the sixteenth century. A
very pretty impressed print, perhaps of a little
later period, is marked: Ritter Scu( lpsit ). This
sheet was evidently printed in one color, which
after a time was covered wTith bronze, as some
traces of the latter still remain. Otherwise the
printing color has a grayish-brown tone and is
not a varnish color.

Without proceeding further into the tech-
nique, I wull give a brief resume of these simple
processes, in order to afford a general view of
the matter. The simplest and oldest paper is
the monotint striped paper, which could be
decorated either by spatter process or by laying
on the colors with a brush. Gold paper may
be counted among the monotint papers. The
leaf-gold was applied upon a yellow- or red-col-
ored ground before the latter had fully dried.
The monotint paper also became a basis for all
later papers printed from the woodcut block.
Woodcut blocks were colored with glue and
paste colors | sizes |, using a color-bag, and were
printed off on the paper. Old works of this
kind have evidently been printed from the

98

a

^

L^,

^1

3

m

U

i(5f

WT4

pB^jjj

IG. 6

FIG. 7

COLOGNE ART- INDUSTRIAL MUSEUM.

MG. 13.— COPPBR ENGRAVING UPON GOLD PAPER.

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

block while the latter was lying on the table;
the paper was placed upon this, and then taken
off again. In the place of one block, several of
them could be printed over each other, so that
one color completed the other; in this manner,
the multicolor impressed print originated and
was developed.

The stamped print was contemporaneous with
the impressed print; engraved metal plates were
stamped into the paper with varnish colors,
in a heavy press, and the print Avas afterward
covered with leaf-gold, leaf-silver, or metal.
Bronze came into use much later, presumably
about the seventeenth century, being dusted
upon the varnish print. Judging from the con-
dition of some papers, we can say with certainty
that the pressing of hot metal plates into a sur-
face covered with leaf -gold was known as early
as the sixteenth century; this process resulted
in some of the most beautiful productions of the
day. Stamped papers could be varied in this
way by painting single fields, single flowers,
leaves, etc., on the uncolored paper underneath.
This was done with cut paper patterns, called
1 ' patrones. ' ' This process was carried out be-
fore the stamping. Completing-colors, or cer-
tain fine detail, could also be printed with the
woodcut block, on paper painted and stamped
in this manner.

The introduction of these patrones led to the
making of paper treated in this manner alone;
several patrones were applied over each other in
the same way that several blocks were super-
imposed. The papers were not nearly so beau-
tiful, however, and indicate a retrogression in
the eighteenth century.

A change in the plainly striped papers is
found in a large group of pasteboards. Until the
first years of our century these were made by
the binders themselves, the simplest means
being used in their production. When two
sheets of paper are covered with colored paste,
placed with the colored sides against each other
and then pulled apart, a peculiar marbled effect
is produced, known as paste-marbling. By
applying a sponge which may contain color, or
by the previous application of different colors
to the paper before separating, variations may
be produced. Those papers falling into the
class of cloud-marbled papers are more com-
plex. On a paper thus treated, but which has
not been pulled off, one can produce waves,
clouds, bows, etc., by wiping with the fingers,
with pointed pieces of wood, or with short
combs with three or six teeth. Judiciously
applied, pretty patterns are produced in this

JO)

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

manner, which bear a resemblance to under-
glaze painting.

After the paper had been treated in a corre-
sponding manner small dampened stamps and
even entire designs were impressed in this fash-
ion, which also leads us to conclude that a
manufacturing industry existed in this branch.

Another technique of the last century, de-
serving of mention and mainly employed by
bookbinders, being related to a similar treat-

DUSSELOORF ART-INOUSTRiAL MUSEUM.

FIG. 14. — INTI.KIOK OF A PERSO-TURKISH BINDING OF Till-: KORAN

tnent of leather, was known under the names
of maser-paper, leather-marble, tree-marble and
fire-marble. Bach of the foregoing titles stands
for a certain kind of paper, the treatment being
carried out on the same lines. Monotint paper,
mostly brown, was dampened and then placed
in an oblique position UpOt] a board. A few
drops of color, to which a few drops of ox-gall
had been added, were sprayed upon this with a

bristle brush; this ran down in streaming veins,
which afterward combined with other veins
to form a marbled effect. This process, when
executed with the sheet stretched flat on a piece
of pasteboard and the ends of the latter bent a
little upward, so that the veins ran together in
the middle, produced tree-marble; if the sheet
was grounded with pernambuca solution or
cochineal extract, and afterward treated for
marbling, the fire-marble was produced. Several
colors were also sprayed
on to produce effects.

The entire art of mar-
bling evidently originated
from the simple splashing
in large drops, just as at
present a great many pa-
pers are manufactured
that are treated with
splashed colors, the latter
being principally lye-col-
ors. To this class belong
all agate and Gustav mar-
kings, and also the phan-
tasy and carrara marbled
effects. To the oldest col-
ored papers — where these
originated has not yet
been discovered — belong
the marbled papers; it is
the most used and will
presumably always re-
main in use. As early as
the oriental books of the
sixteenth century, mar-
bled paper is found; it is
perhaps the only colored
paper that was, properly
speaking, invented, as its
production is based upon
particular chemical pro-
cesses. Colors having a
little ox-gall added were
sprayed on striped paper
and floated upon the
ground, and, according to
the mass of the gall solu-
tion, ran together to form veins. The color-
layer thus formed was transferred by laving
on a sheet of paper and repeating the pro-
i'css anew. The color-layer was varied by
applying a point, comb, etc., and the different
patterns bear their own names. Single-color
combinations were also given special names
by the makers. The completed papers were
given a certain finish by smoothing, applying

DEVELOPMENT AND APPLICATION OF COLORED PAPERS TO BOOKBINDING.

gelatine and varnishing. Until the second half
of the present century, only the smoothing
operation was known; as long as the bookbinder
made his own papers, he smoothed them with
the hot smoothing-tool. This was done as far
back as 1550, and was still used in the present
century. Tooth-smoothing was only used in
extensive manufacturing, but is found as early
as 1660, and remains in use now for all better
grades of colored papers. Models and impress-
ing are no longer used; the lithographic press
and roller give us patterns which meet all de-
mands.

Let us now speak of the various periods and
kinds of papers used. As has been said before,
the colored paper, up to the beginning of the
seventeenth century, was a plain, striped mate-
rial, and was not used in the book-trade, with
the single exception of the colored paper-ground
already spoken of, which was used in Turkish
works of an essentially religious character.

controlled the colored-paper manufacture, and
the makers of the latter are always spoken of
as bookbinders in the records of the trades- '
unions.

As pigments, earthy colors were used, or else
very rich sap colors (kurkuma, yellow wood,
pernambuca wood, indigo, etc.). Animal glue
was used for binding purposes in the Western
Hemisphere the same as in the Orient; not until
about the time when they commenced making
( in addition to the gold-pressed papers already
spoken of ) colored papers with paste-colors, do
we find a ground of paste-colors under the gold
printing. To the experienced eye the paste-
color is easily known from the glue-color, as the
former can never be uniformly applied. The
glue-colors, however, could be laid on without
fault, especially as they could be afterward
smoothed out with a brush adapted for this pur-
pose. (At present the entire work is done with
machine. )

f^UjWGSP • ^BEV* CEORG'CHRISTOP.

COLOGNE ART-INDUSTRIAL MUSEUM.

FIG. 12. — (FIG. 2-12), HOT PRESSED BORDER PATTERX, G. CHRISTOPH STOY, AUGSBVRG.

In the seventeenth century- a new idea sprang
quickly into life from a beginning having no
connection whatever with the book-trade. Con-
fectioners' colored papers, printed in gold and
also used for toys and paper-boxes, were used in
Nuremberg for packing purposes; these papers
possibly originated out of the colored and
painted-up woodcuts used at the time in Ger-
many for the decoration of boxes and small
jewelry-cases.

In those times it was a usual thing for all
trades to employ the different techniques which
might benefit their interests. The bookbinder
split his covers with the hatchet from the block
of wood, cut them with the saw and knife and
then planed them smooth, himself. He made
the plain metal end-pieces, and, above all, pro-
duced his own colored papers. As a fact, even
at the beginning of this century, bookbinders

It appears as though the most extended and
practical manufacture of such gilded and im-
pressed papers first came into practical use in
Augsburg, then in Nuremberg, and also to a
small extent in Fuerth. With regard to the
beauty of the pattern, the clean cut of the
forms and the entire technical execution — as
far as I can judge from the specimens at hand —
the Augsburg productions seem to have been the
best. It will be some time before we are able to
designate the individual masters by name (we
may not term them manufacturers), and to
classify their work upon a basis of extant pat-
terns. Some of the Augsburg masters have had
their names cut into the edge of the models,
many of which they had in use at the same
time. With regard to patterns which are un-
marked— as far as the}- may be found — it will be
difficult to discover the makers.

Paul Adam.

103

As A matter of interest we would remark
that the coated book-paper upon which this
souvenir is printed, and the cardboard used for
the cover, were made by the A. M. Collins
Manufacturing Company, of this city.

Among the cherished bits of legendary epi-
sode which are indissolubly linked with the
great natural park contiguous to Philadelphia,
that which purports to chronicle an incident of
the early aborigines is deeply interesting. Along
the laughing Wissahickon are many spots which
teem with living memories, and one, especially,
is imbued with vivid and tragic associations. On
the east bank of the delightful stream, at a cer-
tain portion of its irregular course, stands a cu-
rious, arch-shaped rock, of which the following
details are narrated to the visitor. This rock,

-

known to the inhabitants of our city as " Indian
Rock," marks the site where early Indian coun-
cils formulated the unwritten laws which gov-
erned the children of the forests. Here the
famous chief Tammany assembled his braves for
conference, and, upon the ist of May, addressed
them from its rocky summit. Peace to the white
men thus became a surety, and the inviolable na-
ture of that peace is well attested in our annals.
Upon such an occasion as this, a member of his
band, the young Cannassatego, who had become
enamored of the young squaw of the chief, asked
her hand in marriage, and, on being refused,
leaped from the rock to his death. The en-
deavor of the girl to join her lover in the happy
hunting-grounds is also told, and it is further
added that her action was prevented by the old
chieftain himself.

Opposite to the Indian Rock, on the historic

Monastery Bluff, upon the west bank of the
Wissahickon ( or Catfish Creek ) , stands the hos-
telry, which, for twenty-five years, has been re-
nowned as the road-house, par excellence, for
riders and drivers. Nearly ever}- Philadelphian
knows the spot and has partaken of its hospital-
ity; no locality in Fairmount Park has such at-
tractions for a hungry driver as are possessed by
the Indian Rock Hotel. Winning its early
reputation for a genuine Wissahickon (or cat-
fish) meal, it has attained recognition as one of
the popular roadside resorts of the city. That
the conduct has always been in every way first-
class, is well guaranteed by its past history.

Four years ago, the hotel passed into the man-
agement of its present proprietor, Charles Wein-
gartner, formerly with Delmonico, New York
City, and late superintendent of the Hotel Du-
quesne Company, Pitts-
burg, Pa. Since that
time, the house has been
greatly enlarged and re-
modelled and furnished.
A spacious banqueting-
hall is one of the new
features, and its cuisine
has been extended from
catfish dinners to all
the delicacies of the
market. The hotel is a
veritable " Delmonico's,"
and is but nine miles away
from the Public Buildings.
Delegates will have ample

J opportunity to pass upon

its qualities as a high
class hotel, situated in a
very picturesque and very historic locality.

A machine for addressing envelopes and
wrappers is ascribed to Charles A. Belknap, New
York, wherein perforated address cards are
used. One card after another is fed into the
lower end of guide-ways, above which is
mounted a platen provided with an opening
corresponding to the size of the cards. An im-
pression-block oscillates above the platen, at
both sides of which rotary feed aprons are fixed,
the pile of envelopes or wrappers being fed to
the conveyor-aprons by suction on the foremost
envelope. The depression of the impression-
block prints the address, ink being supplied
meanwhile to the under side of the perforated
address-card below the platen. The printed
envelopes or wrappers are fed forward as fast as
finished.

lo.J

A. M. COLLINS

MANUFACTURING

No. 527 ARCH STREET,
PHILADELPHIA.

COMPANY

• MANUFACTURERS OF

CARDBOARDS.

coated Book paper

AND

COATED I/\BEL PAPER

105

TRADEMARK

TRADE MARK

CUNNINGHAM, CURTISS & WELCH, San Francisco, Cal.,
Agents for the Pacific Coast.

AMERICAN PAD AND PAPER CO., Holyoke, Mass.,

Carry in stock " Magna Charta Bond" Tablets.

W. H. HILL ENVELOPE CO., Worcester. Mass.,

Carry in stock "Magna Charta Bond" Envelopes
in three weights and all sizes.

" ' M — — ■-- - - - -— ~ ■■'

TRADE MARK

HI l*IIL

5c5c5c5c5E5a5S5cH5c5E5E5E5ra5c!£5ra^

M&<1M& ©IKI^^m ©@K)®

FAC-SIMILE OF WATERMARK.

TRADE MARK

FIRST-CLASS
BOND PAP6R

Manufactured by

PlV€RSIP€ PAPER CO

HOLYOKE, MASS.

Made from New Rag Stock, free from adulteration, per-
fectly Sized, and with a long and evenly-beaten Fibre.
A Bond Paper as carefully made as our Magna Charta
Bond will last forever, and this is a most important
consideration in papers cf this kind.

TRADEMARK

TRADE MARK

TRADE MARK

TRADE MARK

TRADE MARK

TRADEMARK

1 06

Oft and oft, the question has been made,
' who first of all 'set up • the printer's trade \
decision yet is still unheard,
Twixt Caxton, Koster, Gutenberg ;
to whom belongs the greater praise
has not been settled in these days.

WHATE'ER THE ISSUE IN THIS MATTER,
WHATEVER THE OUTCOME OF THIS CLATTER,
WHATEVER THERE IS TO CAUSE A DOUBT---
TlS NOT OUR WISH TO STRAIGHTEN OUT;
BUT ONLY THAT THEIR SONS MAY STAND
FN TYPOTHE1AE A UNITED BAND.

V//(7Yfo

F. D. MAXWELL
D. D. ENGLE

H. REIMOLD

PRINTERS

DESIGNERS
EMBOSSERS
ENGRAVERS

THE COVER OF THIS SOUVENIR
WAS MADE BY US

Perfection •=• Envelope.

MM

m

Don't

ink

You know that when you lick
the gum off your Envelope you
remove that which was put
there to stay ? Then why not

Clean, smooth paper, and get
rid of that sickening taste which
is always experienced after lick-
ing

The Rum

n«

Your-

Anv More

Off the old-fashioned
Envelopes; besides, it
is unwholesome, very
disagreeable, does not
easily come
Tongue, or the idea of
its uncleanliness is not
removed. We have in-
troduced the Perfec-
tion

Gummed in the proper
place, filling a long-felt
want, and which will
not cost you

Than you are now pay-
ing for the privilege of
licking the gum off the
old-style Envelopes.

WOLF
BROTHERS,

Manufacturers

of

Envelopes

and

Papers,

606, 508 and §10

Minor St.,
Philadelphia, Pa.

^UiiRSOFHlfflGRADE

No doubt you believe in the theory that the best is always the cheapest in the long run.

Your customers always entertain a more kindly feeling toward the firm

that supplies them with strictly first-class goods.

We take pleasure in recommending to the trade, throughout the country, the following

brands of Papers as being first-class in the grades they represent.

"Glasgow Linen"
"Dartford Linen"
"Oxford Linen"

Old Hampshire
Bond"

(White and Tinted^

#
"Titan Bond"

(White and Tinted)

These Bond Papers give
splendid satisfaction to all
classes of trade

"Titan Linen
Ledger"

(Extra Strong: and of Good
Fibre)

" Invincible
Linen Ledger"

(Strong and Good Fibre)

The above brands of
Linen Papers are leaders,
and a trial order will con-
vince you of this statement

Bristol Boards

and
Wedding

Bristols

"DARTMOUTH" Superfine Papers

These Papers are especially recommended for their uniformity and splendid qualities for lithographing

•OLD HAMPSHIRE"

Extra Superfine Flat and Folded Papers, standard quality, put up in Legals, Notes, Letters and Caps.

We Manufacture a Choice Line of TYPEWRITER PAPERS

These papers are made from specially selected stock adapted for the making of Typewriter Papers.

Stationers will find this line superior to anything in the market.

This Paper is put up in artistic boxes or wrappers, specially made for our line, 500 sheets to the ream.

All regular sizes and weights in all of the above Papers are carried in stock at all times, so that orders
may be filled promptly.

Specialties are what we delight in ; and when in want of anything out of the usual run, we shall be
pleased to show you what we can do. Samples cheerfully furnished on application.

^

Z2L

HAMPSHIRE PAPER

SOUTH HADLEY FALLS rMASS.,U.S.A

S3=^

THE

WE STAND ON MERIT ALONE.

HUBER

Crank Movement,

Improved Two=Revolution

Job and Book Press.

Doable Rolling.
Single End.
Six Four-Inch

Face Tracks.
Box Frame.
No Springs.
Front or Back

Delivery.

UNEQUALLED BY ANY TWO-REVOLUTION PRESS IN

IMPRESSION, REGISTER, DISTRIBUTION, SPEED AND LIFE.

The Huber Presses are used by the representative houses of this country, who will substantiate
all we claim for them. Send for descriptive circulars of our Sheet-Perfecting Book Press, Two-
Color Press, Two-Revolution Job and Book "Crank Movement" Press, Two-Revolution Job and
Book "Air-Spring" Press, and Two-Revolution "Mustang" Rapid Jobber "Crank Movement."

SIZES.

DIMENSIONS, WEIGHT AND SPEED.

No.

Rollers
eov'g en-
tire form.

Bed inside
bearers.

Matter.

No.

Length
over all.

Width
over all .

Height
over all.

Weight boxed.

Speed.

I

I

2
2

4
3
4
3
4
3

44 x6oin.
48 x 60 in.
37 x 57 in.
41 X57in.
37^ X52 in.
41% X52in.

4°^ X56in.
44^ x 56 in.
34 X54in.
38 x 54 in.
31 xaSin.
38 x 48 in.

1, 4-Roller

1, 3-Roller
1%, 4-Roller
1%, 3-Roller

2, 4-Roller
2, 3-Roller

15 ft.

15 ft. 8 in.

13 ft. 6 in.

14 ft. 2 in.

13 ft. 6 in.

14 ft. 2 in.

9 ft. 3 in.
9 ft- 3 in.
8 ft. 7 in.
8 ft. 7 in.
8 ft. 7 in.
8 ft. 7 in.

6 ft. 4 in.
6 ft. 4 in.
5 ft. 5 in.
5 ft- 5 m.
5 ft- 5 m.
5 ft. 5 m.

About 8% tons

:: & ::

" 8

:: & "

1 100 to 1500
icoo to 1400
1300 to 1800
1200 to 1700
1300 to 1900
1200 to 1S00

We Furnish with Press:
Counter- Shaft, Hangers, Cone Pulleys, Driving Pulleys, Two Sets of Roller Stocks,

Wrenches, Boxing and Shipping.

Van Aliens & Boughton,

59 Ann St., and 17 to 23 Rose St., New York.

256 Dearborn St., Chicago, 111.

H. W. THORNTON, Western Manager.
107

Iru/ii? Jl /T\e^a r^ee 0 Qd.

^§^?

i4^K

Philadelphia.

ioS

liiiiiiiiiiiwiiiirf

'.n,m.„,i.|,ii|lil^

THE BEEBE S MOLBROOK GO.

Holyoke, Mass., U. S. A.

Established in 1871. £$$>

Product, 9 tons per day of High-Grade
Loft-Dried Papers.

Sole owners and manufacturers of the following well=known brands
of papers :

v^v^w*^v^w>^v>^^ww^^^^^^^^^

Keen<? /Wills — Sup^rfin?,
Chesterfield — Fine.

WW

&

Saxonv) Lnnen.
Genuine Flax.
Celtic ledger.
Capitol ledger.
Government FJor,d.
Old Hempstead Qond.

• • • ALSO • • •

No. 1 Colored Laid and Wove Flats.
No. 1 White and Tinted Weddings.

A/v^A^v^A/wwvwsA*/wv^^^AA*^AfVWSA

We Invite your correspondence and we will be pleased

to submit samples.

G. B. HOLBROOK, Pre

A. \\\ KSLKKCK, Trea.-

First=Class
Workmanship,

. THE

Unsurpassable
Facilities.

♦♦♦♦♦♦

C0RNER=ST0NE3 OF OUR SUCCESS,

Burk & McFetridge Co

PRINTERS

LITHOGRAPHERS

♦♦♦♦♦♦

Printing of
Every Description.

^^PUBLISHERS,

306 and 308 Chestnut Street,
PHILADELPHIA.

Illustrated Work A Specialty.

. . . THE CORNER-STONES OF OUR

IS

♦♦♦♦♦♦

Equitable

Dealing.

SUCCESS,

Reasonable
Prices.

109

Edward Stern & Company

INCORPORATED

PRINTERS OF
ii

PAPER AND PRESS"

S

PECIALTIES

The Making of Fine Catalogues
Printing of Art Works
Embossing

1 1 2- 1 14 North Twelfth Street
..Philadelphia..

..ESTABLISHED 1870..

10

Printers' Supplies
Warehouse.

WE CARRY IN STOCK AND MAKE TO ORDER
EVERY DESCRIPTION OF

Book, News and Cover Papers
Ledger, Writing and Job Papers
Ruled Commercial Headings
Wedding and Family Stationery
Cardboards and Cut Cards
Envelopes, all sizes and colors

AND EVERY KIND AND

CHARACTER OF MATERIAL REQUIRED FOR TYPE, CUT

AND LITHOGRAPHIC WORK.

CORRESPONDENCE SOLICITED.

The Thos.W. Price Co.

503=505 Minor Street, - - Philadelphia.

The "Granston" Press

SERIES

TWO-REVOLUTION— Two and Four Roller
Cylinder— Patent Improved

Commercial
Book and News
Improved Newspaper

The Cranston Printing Press Co.

NORWICH, CONN.

CHAS. M. STOEYER fe CO.

Oprir)^ Grove Paper Mills

acburers ar)d

Wt)olesal

e Dealers ii)

S. S. & C. ai)d

-M.. r . Book Papers

^

^

volored iVlecliuir)S

Supers ar)d Fir)e \v ritir)6s

V OY^r Papers, Etc., Etc.

OFFICE AND WAREHOUSE

520 ai)d 522 Mipor Street

Philadelphia, Pa.

"3

Only the Highest Grades

of Enamelled Book Papers

MADE BY

Nashua Card and

Glazed Paper Co.

NASHUA, N. H.

We carry in Stock trie following Sizes of

ENAMELLED BOOK PAPER:

22 x 28 — 40, 50, 60, 70, 80, 100 lb. 25 x 38 — 60, 70, 80, 90, 100 lb.

24 x 36 — 60, 70, 80, 100 lb. 28 x 42 — 80, 100, 120 lb.

24 x 38 — 60, 70, 80, 100 lb. 28 x 44 — 80, 100, 120, 140 lb.

32 x 44 — 100, 120, 140 lb.

Cardboard of Every Description.

Fine Wedding*Bristols, Calendar Boards, Coated Lithographic Boards,

Cover Papers, Flint and Friction Glazed Papers, Coated

Blotting, Playing-Card Stock, Mat Boards, Plated

and Lithographic Paper.

SEND FOR CATALOGUE.
114

STERLING

LEDGERS

whiteIor buff.

STERLING

BONDS

WHITE WOVE.

MR. GEO. E. WRIGHT, treasurer.

Jf ™ TRADE^ MARK ^S

STERLING

LINENS

WHITE AND CREAM LAID.

STERLING

SUPERFINES

REGISTERED.

MR. J. E. WORTHY, president.

MR. GEO. E. WRIGHT, Jr., manager.

WORTHY PAPER CO., Mittineague, Mass.

115

Nonotuck Paper Co

\\x

«&*

c

^

?*s

o* ■

*&«&$*■

V

S

e^

.

REGULAR SIZES AND
WEIGHTS CARRIED
IN STOCK.

SPECIAL SIZES AND

WEIGHTS MADE TO
ORDER ON SHORT. .
notice

RULED WRITINGS,
MACHINE AND SUPER

CALENDERED BOOK,

ALSO

ENAMELED BOOK

AND

COATED LABEL

. . . Papers

NONOTUCK PAPER CO

HOLYOKE, MASS.

116

THE PRODUCTS

OF

\\/hiting ♦ pap<?r ♦ Qompdm),

/VUlls, HolvJol<e, /Vlass.

Have reached the highest degree of perfection.
The different grades meet every requirement.

BOND

LEDGER

WEDDING
LINEN

TYPEWRITER

Ifcapers.

#

Superfine, Fines, White and
Cream Wedding Bristols.
White and Cream Mill Bristols.
Tinted Bank Check Papers.
Tinted Laid Writings.
Tinted Bristol Boards.
Embossed Bristol Boards, Etc.

*

Warehouse : No. 18 South Sixth Street,

Philadelphia.

"7

BURRITT H. SAWYER. FRANK W. FARRELL.

PSTABLISHED 1861.

Nescochague
Manufacturing --Co.

MANUFACTURERS AND

• • • GENERAL DEALERS

Paper

Of All Kinds.

514 and 516 Minor Street

PHILADELPHIA

PA.

us

,

Steen's Power Stamper and Illuminator,

Patented by Samuel Steen and Chas. H. Elliott, Philadelphia, Pa., V. S. A.

Stamps Die 3^x7 inches

or one of the smallest

size.

Registers per-
fectly. Stamping
inColors orBronzes
by Steam Power.
1500 perfect im-
pressions per hour,
n Bronze, in Color,
or without Color.

It will Stamp
Two Dies at one
operation. SUNK
Coat of Arms or
Trade-Mark, or
DEEP die
v*?] in Color

or Bronze.
Will bur-
nish 1500 per hour.

Interested par-
ties invited to call
and see the press
in operation.

K

NOW ON
EXHIBITION.

Correspondence Solicited.

THE CHAS, H. ELLIOTT GO,

910 FILBERT STREET,

PHILADELPHIA, PA.

U. S. A.

PAPER • FOLDING • MACHINES.

W@/®/^y

Point Feed and Marginal
Side Guide.

Drop Roller Machines

for all classes of fine
book, pamphlet and peri-
odical work

W^W^

Ma

Montague & Fuller,

General Agents,
NEW YORK. CHICAGO.

nufac^^Chambers Brothers
.. Company,

PHILADELPHIA.

ladelpfya.

Made

AND

Repaired

MONTAGUE • & • FULLER.

LATEST IMPROVED . .

Bookbinders'

JVIaehinery.

General Agents for the Sale of

The Smyth Book Sewing Machines,

The Chambers Book Folding Machines,

The Elliott Thread Stitching Machines,

The Acme Paper Cutting Machines,

The Christie Beveling Machines,

The Economic Paper Feeding Machines,

The Ellis Roller Backer.

♦♦♦♦♦♦

The Ellis Book Trimmer,

The Universal Wire Stitching Machines,

The Seybold Automatic Book Trimmer,

The Hercules Signature Press,

The Jacques Shears,

The Lieb Rod Embossers, Inkers and

Smashers,
Arch Embossers, Inkers and Smashers.

EXTRACT FROM LETTER

WORLD'S COLUMBIAN COMMISSION

Washington, D. C, April 7, 1894.
* * * " The exhibit of Montague & Fuller was one of the most
ambitious exhibits in the Machinery Department, and the largest
collectiofi of machinery in its class." * * "The exhibit of
Montague & Fuller was awarded nine medals andelez'en diplomas."
Yours.
(SIGNED) JOHN BOYD THACHER,

BY Chairman.

(SIGNED) M. L. MCDONALD, JR..

Ch ief of Awa rdsfor Mach inery.

THREAD, TAPE. WIRE, DHPLI=
GATE PARTS. ETC

We Guarantee..

livery Machine We Sell.

28 Reade Street, NEW YORK.

> 345 Dearborn Street, )
82 Plymouth Place, I

CHICAGO.

121

EDWARD K. GRAHAM & CO.

MANUFACTURERS OF

DEALERS IN

New and Secondhand /Vlachinen} and Supplies
of <?v?r\J Description.

Oend for Special List «& 516 COMMERCE ST.,

Second-Hand Machinery. ^* PHILADELPHIA PA.

Specialties:

Parchment Paper

Grease and Moisture Proof.

Paper Mailing Tubes.
American Matrix.

Rose Glen Paper Mills.

A.G.ELLIOTT & CO.

Philadelphia Agents

. . for . .

Hollingsworth & Whitney Co.

L. L. Brown.

Byron Weston.

Crane Bros.

Crane & Co.

Parsons Paper Co.

Russell Paper Co.

Jos. Parker & Son.

Mt. Holly Paper Co.

Owen Paper Co.

Ripley Paper Co.

M. & W. H. Nixon.

Chapin & < Jould.

Old Berkshire Mills.

E. & S. May's Plate Paper.

Commercial Safety Paper.

MANUFACTURERS AND DEALERS IN

# #

Paper

* #

OF EVERY DESCRIPTION.

30, 32, 34 South Sixth Street,

600, 602, 604 Jayne Street,

723 Chestnut Street,
PHILADELPHIA.

Paper in stock to suit all the requirements of

The Publisher, The Bookbinder,

The Pr inter } The Lithographer.

122

C. R. CARVER,

■^

BkOWN & CARVER
PAPER-CUTTING MACHINES.

NEW AND SECOND-HAND
PRINTERS' MACHINERY.

25 H- SEVENTH ST.

PHILADELPHIA, PA.

123

ONLY MAKER OF
STRONG SLAT" CASES.

The very best samples ot case
slats to applicants.

Paterson Job Cases.

California Job Cases.

City Sta nds, Single and Double

All up-to-date and well made.

Catalogues describe them all.

HEBER WELLS,

Successor to VANDERBURGH, WELLS & CO.
Factory at Paterson, N.J. 15 7 -1 59 William St., New York.

Of Interest to Photo=Rngravers.

. WRITE the W°rd BBVBZER on a

' " V V postal card, together with your name
and address, mail it to us, and we will send you
full and complete descriptive matter of a new
machine for bevelling the edges of half-tone plates,
in which many new and desirable features have
been developed.

JOHN ROYLE & SONS, Paterson, N. J., U. S. A.

PHOTO « EHG$ FIVERS

w

A;

TTEftTIOrl I

E will furnish you perfectly ground sheets for
etching more cheaply than you could get the
same up yourselves, and more perfect. Whatever is worth
doing is worth doing well. By the use of our sheets, perfect
contact with the negative is insured. This, combined with
perfect etching qualities, furnishes the ideal etching metal.
No waste on account of seams, or imperfections.

To specialize is the modern tendency. We have special-
ized upon this. It costs but little to write us. Better let us
become acquainted with you.

NEW YORK STEEL AND

171 Wallabout Street, pHPPPP PI ATP (^C\

BROOKLYN, N. Y. K^VJl l Dl\ ILAIC ^W.

124

THIS IS A SAMPLE.

Qrai^e Bros."<*>w/iHar

> U/estfield, /Tlass.

linenledtferP3^: ,

\^ ' ' \ 5 \ (361b. medium.)

This Paper has never failed to receive the Highest A ward

when placed in competition with other papers, after

a thorough test by competent judges ; it tliere-

fore stands commended to the public

as the best article of the kind

in t)ie world.

OCR TRADE-MARK.

Highest Award at the Centennial Exposition, 1876.

Grand Prize Gold Medals awarded at the Paris Exposition, 187S,

and the Melbourne, Australia, Exposition, 1880.

Grand Prize Gold Medal awarded at the World's Exposition, New Orleans, 1885.

Medal of Superiority awarded at the American Institute, New York, 18S9.

Silver Medal awarded at the Mechanics' Institute, Boston, 1890.

Highest Award at World's Columbian Exposition, Chicago, 1S93.

Diploma of Honor and Gold Medal awarded

at Midwinter International Exposition, San Francisco, 1894.

These Papers are Machine Hand Made, and are recommended by those
who are using them to be as good as the English Hand Made Papers. The
Crane Papers are made by an entirely new process, and will write and erase
equal to any hand made paper. They are the only Blank Book Papers
manufactured where the watermark is in the same position in every sheet.

r CRANE BROS

IN ORDERING YOUR BLANK BOOK WORK, PLEASE SPECIFY
"CRANES' LEDGER PAPERS."

K§

USE ^

A-

s

X

."GOI-IWdA^

'KNRecoR"^'

,. ^- Soft BtM*R „_

Warranted All Linen
"Japanese Linen'Papers

(R^

CRMAKt^

m

i

THE OLDEST AND MOST RELIABLE FIRM OF PRINTERS'
ROLLERS MANUFACTURERS IN THE CITY.

D.J. Reilly&Co.

O. J. MAIGNE.

~J^~ -\i- ~J^ -v]/- ■sj^ -sU ~~.\y -six- -\l- ■nL- ■nI^- -.!-

~7j^ ^"JS, ^|\, v'jS, ^ ^JsT' *-K. ,/j^ ^f. ^T-^

324 and 326 Pearl Street,
fleui York City.

Form or in Cakes.
Green and Blue.

ii

..

TABLET GLUE £253

PEERLESS" COMPOSITION «-«..*.««-

ALMlj CUjirUblllUjN A reliable, standard article.

MANUFACTURERS OF

Printers' Rollers

AND ROLLER COMPOSITION.

W&M&M@:@MS>M

Keep on hand a bottle of our celebrated "ELECTRIC ANNIHILATOR." It is

a sure remedy for electricity in paper.
Patronized by all the leading Printing Press Manufacturers in the United States.

Best work at moderate prices.

Rollers made by the new method, and known as "Machine-Cast Rollers,'
are manufactured by us.

125

A French savant speculates that Adam was 123 feet, 9 inches high,
and his disobedient consort, 118 feet; that at the present rate of degene-
ration the average man, 500 years hence, will be four inches high. Neither
statement has been confirmed as yet, but the following mathematical pro-
portion of durability and values may be deduced :

A -, • ( Citizen of ) • • ( Superior Copper=Mixed ) . ^

Adam { A -r-. > ! \ .. ~ : ~ > Other Tvpe.

• ( A. D. 2394 ) • • ( Anti=Trust Type. ) • J ^

The question is asked, why are users of your Superior Coppei'- Mixed Type almost
uniformly prosperous ? The answer falls into two parts :

(a) Men with good judgment buy that type when they learn of its merits.

(b) Having the type, the}- save money and time, and obviate all kinds of worry.
It may be added that finding the excellent qualities of the type prompts them to

look to us for such other articles of printers' supplies as they need, and gradually
they stock up with such splendid machinery, etc., as we handle, like

Babcock Aii'- Spring Pi'esses.

Howard Iron Works Paper- Ctttters and Binders" Machinery .

Chandler and Price Old-Style Gordons.

Morrison Wire- Stitchers.

Kane, Lewis and Raymoiid Gas-Engines.

Mayo {Rockford) Electric Motors.

Etc., Etc., Etc.

Hundreds of customers of this house habitually- send in their orders without
asking prices, feeling that they will be treated fairly- — and they are never disappointed.

Our prices are on the whole lower than those of any- competitor ; theyr are
uniform ; they are made as low as theyT can be, with due regard to qualityr. We ask

Not " how cheap f" but " how good f '

and the wise, far-seeing, forward-looking master printer asks the same question.

Cheap goods fit the amateur, the cheap John, the blacksmith printer, but the
" stayers," the responsible men of the craft, want the best, which is a synonym for

"Superior Copper-Mixed Anti-Trust Type,"

and other like goods handled only by

Barnhart Bros. & Spindler,

183, 185, 187 Monroe Street,

CHICAGO, ILLS.

126

127

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129

Paper and Press.

PRINTERDOM'S MAGAZINE.

THE foremost Magazine of the World in the
Printing Arts and Allied Industries; con-
tains complete and comprehensive reviews
of every appliance and process for the manipula-
tion of manufactured paper, and has the bona fide
endorsement of the buyers and consumers of
four-fifths of the machinery, appliances and sup-
plies annually sold to Printers, Publishers, Book-
binders, Blank-Book Makers, Manufacturing
Stationers. Engravers and Plate Printers in the
United States and Canada.

W. M. PATTON, Publisher,
1414 S. Penn Square,

Philadelphia, Pa., U. S. A.

Papel y Prensa.

SPANISH-AMERICAN EDITION
Paper and Press and Lithographers' Journal.

THE only independent, high-class Journal in
the World printed entirely in the Spanish
language, covering all the Graphic Arts
and Allied Industries, and circulating directly to
consumers throughout the Republics of Mexico,
Central and South America, embracing all the
valuable features of Paper and Press and Lith-
ographers' Journal, and circulating monthly to
Publishers, Printers, Lithographers, Bookbind-
. Blank-Book Makers, Stationers, Engravers,
Plate Printers and all engaged in the Graphic

Arts and AHie I Industries in Spanish America.

W. M. PATTON, Publisher,
1414 S. Penn Square,

Philadelphia, Pa., U. S. A.

Lithographers' Journal.

THE only Journal in America exclusively in
the Lithographic interests, and the lead-
ing Monthly Journal of its class in the
World in the English language. A Journal of
the highest class, treating upon every process,
experiment and demonstration pertaining to the
technique of Lithography in the most compre-
hensive manner ; together with current reviews
of every mechanical invention for demonstration,
collated from the world's store-house of informa-
tion. A Lithographic Journal in the fullest
sense, having the almost absolute endorsement
and support of the Lithographers of America.

W. M. PATTON, Publisher,
1414 S. Penn Square,

Philadelphia, Pa., U. S. A.

A Machine Without Cams
• « Newest and Best • •

The New Jersey Wire Stitching Machine

f

% J. L SHOEMAKER & CO.

Simple

Durable

Economical General Agents

Send for Circulars Philadelphia

130

Hills Established 1850

L. L. Brown Paper Co.

ADAMS, MASS.

W\

en do not put "new wine into old bottles"

but they often record valuable documents and accounts
upon paper of an inferior quality ; thus practicing a
''Penny wise and Pound foolish" economy, saving a few
cents per pound on the paper that enters into the making
of a County Record or Ledger. The result is, after a
few years the leaves become yellow and brittle by use,
they break out at the back, and a book in which are
inscribed valuable records, to which time gives added
value, is a source of care and anxiety ever after.
There are certain brands of Ledger Papers to be re-
lied upon, made of the best possible rag stock, new
cuttings, linen fiber, that time and age will not deter-
iorate ; such is the L. L. Brown Paper Co.'s Linen
Ledgers. This company has made a specialty of this
one article, " Linen Ledger Paper," for more than
forty years; it is the same year after year, strength
of fiber insuring durability in daily use, and a sizing
that resists climatic changes are points of excellence
that commend this brand to those who want the best.
Ask your stationer or blank book maker for our brand.

Yours truly,

The L. L. Brown Paper Co

HIGHEST AWARD for Linen Record
Papers awarded at World's Colum=
bian Exposition, Chicago, 1893

FRED. H. LEVEY, President CHAS. E. NEWTON, Vice-Pres.

••32+Js i£n<V

FRED. H. LEVEY COMPANY

Manufacturers of

FINE PRINTING INKS

NEW YORK

■.•so •>::•.•

This Souvenir is printed entirely with our Inks

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